1 The transformation from validation stage to performance stage created many themes and issues within Porto. The issues and themes came from individuals and also arouse from groups that formed throughout the performance. People in the community of Porto were alone and lost and found themselves wanting interaction with other people within this space. Themes such as love, jealously, control, attention, interaction, scared and loneliness shined through the performance of Porto. All people within Porto longed for that certain somebody, someone they could share the journey with and help them, somebody that could make them feel complete . Individuals of Porto found them selves becoming drawn to becoming one with the community, but certain individuals found it hard and was forced to becoming one. These individuals found it hard to merge and felt forced, but were finally dragged in and were drawn into the ensemble pieces. An example of this was my distinct character not wanting to be part of the community it was not until she was forced and dragged in that she gave in. People within in the space of community all had one think in common there relationship with an single item that was in there bags. This one item that everyone had, linked certain individuals together some more than others. This one item brought people together and felt connections and drawn to people with this item in common. Individuals then found a purpose for being in this space together and found a reason to interact. Characters entered this space alone but most people left with somebody, this being someone they felt drawn to or somebody they felt a connection with. The themes and issues that arouse within the space became clear as time went on in Porto everybody wanted to belong either if it was part of the ensemble or as part as a group.
2 When beginning work in the studio this became our space of Porto we adapted to it. This was our common home and every move was based around the space we had within the studio. This had it’s limitations due to the space that provided knowing we would move into the arena theatre space. Being in the studio for 6 months I think was a disadvantage because we never had the space that we would finally perform. When Porto was rehearsed in the arena space, I found It hard at first this being for many reasons. Reasons such as my movement could now be bigger, having to adapt to the new space that was provided and last of all the community within Porto could spread out more. The main difference was the depth of space we had, the space in the studio was much smaller and when performing the opening routine in the arena it was different knowing we had a lot more space to work with. My moves could be bigger and not toned down as they was when I was in the space of the studio. When creating the transitions between the studio and the arena I felt my character change. She changed because she was in a new surrounding and was used to the space in the studio I seen new characteristics shine through when performing in the new space. ‘An actor who looks at the floor is uninteresting . Like a rally driver navigating the road ahead, the actor has to ‘read’ the space. But in order to do this s/he has first to really ‘see it’, to create parallels of attention so that the whole space becomes there filed of vision’ (Callery, D. 2001 p79 )
The final week we moved into the arena this had it disadvantages, reasons such as lighting and sound rehearsals, we could not have these in the studios so this was a frustrating time for us. It was a element of what needed to be done to make the performance complete but I feel this was time we needed to rehearse in new space.
The ensemble sections and sub groups I thought were much stronger and easier to perform when we was in the space of the arena, they had more of a impact and impression. I think this was due to that fact we could explore more with the space we had. At first I think we all was scared of the new space but when we came nearer to the performance we were taking more risks and exploring the new space we had.
3 Throughout the 3 shows I thought I could not develop anymore as a character, but as we went through to the final show my character developed a lot since the first performance, finding new things out about her self and taking new risks. In the first stages of creating my character I was very strong and was reluctant to changing her once I had established her. As the performance was moved into arena my character started to change and started to explore more and take new risks within the new space. This was a shock to me and was also a challenge adapting to her new characteristics whilst performing our final shows. My character has developed so much from what she first was. As well developing her characteristics her involvement inside Porto developed as well. Before my character never interacted with anyone within the space, it was not till the last 3 performance that she created and formed a relationship with one individual. This was strange for me as a character because she was always alone and always pushing people away until she met this one person that she let in and found that connection and purpose to explore more. The person she let in was also in love with somebody else she had to fight for attention from him, it was a love triangle. As the 3 shows went on she pushed and fighted more for his attention I felt my emotions get stronger. The 3rd show I felt my character was at it’s fullest that it could be ,I was so into my character that it was hard for me to come back to my normal self and back into a world that wasn’t Porto. My emotional state of my character was at its fullest and boiling point in my 3rd show she was fighting for the man she wanted to let in. Luke lets me in throughout the show and as the performance goes on the fight for attention of him becomes a struggle. My time in Porto I notice Luke even when he is with Michaela I am still interested but I become more emotionally upset towards the end where Luke is the middle and he is torn between the two of us. I never thought my character would never let anyone in but as the 3 final performances go on this becomes visible that I want interaction and attention on Luke. I don’t let anybody but Luke in and still have kept my characteristics such as being lost and alone towards everybody else. I don’t know what she see’s in Luke but she finds some kind of connection with him and around him she feels complete. Even though she knows Luke finds interaction with everyone else she still feels drawn to him. The RSVP stage I think was still present even in the final stages of Porto was a very useful process in creating our individuality of our characters. Our final performance as a group I feel was at its strongest on the 3rd and final show I feel all off our characters was at our highest emotional state and this was clear by the performance we pulled of as an ensemble.
Bibliography
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London. Routledge
Other resources
www.dv8.co.uk assessed 12 May
http://www.vincentdt.com/ 14th May
Friday 15 May 2009
Emilia Breadon Final Blog
1) The process form the ‘V’ stage to the ‘P’ stage of devising was a very exciting step as it was our final stage to go through. As an ensemble we gelled together more creating a stronger community. From our entrances everyone had individual emotions this varying from loneliness and wanting to interact with others to have that safe/secure feeling to characters who ranged emotions being confused, anxious and excited not wanting to communicate with others. As the piece developed, from an audience perspective more was being explained as to why we entered with these emotions and why we had an attachment/detachment to our baggage. An audience member actually said that they did not understand why I was so attached to my bag until Dan actually pulled my item out (the ballet shoes) and showing the audience with my response to his action, and this was the same with the other characters and their items being revealed.
In the ensemble work at the beginning of the piece even though we all had our different characters we all formed together as one to do repetitive movements. It was as if we were trapped in these movements and could not escape them or change our movement to break out of the ensemble, it is not till Nicola enters where she changes the dynamics and everyone quickly forms back into their characters interested and reacting to why she was entering in such distress.
Some characters in Porto changed completely with their emotions that they had in the beginning to at the end, and example of this is Zara, she entered a confident character who was quite stubborn especially in the train scene where she shows this by becoming dominant about her space on the three chairs at the back ignoring those around her. It was not until I started to interact with her that she showed her emotions deep down and that was that she was quite upset because of her past and although she seemed strong on the outside deep down she was sensitive and towards the end of the piece this is shown by us sharing a chair together. So it went from her taking all the space of three chairs to us sharing one. Also at the end of the piece we do a reprise of the ensemble movement we did at the beginning but really slow and controlled and it was interesting to see that Nicola and Jay are in the middle not moving with the ensemble but rather than us react like we did at the beginning, we don’t we continue as a community it is not until Nicolas face is revealed when we react. This shows that as a community we became used to Nicola not being part of the community but when her face is revealed we have not seen this before so initially the community was interested into seeing who she was.
"make devised work as an ensemble and place great emphasis on the personal contribution [and] individual physicality…" (Vincent Dance Theatre http://www.vincentdt.com/artistic-policy.html 2009)
2) I think the initial transition from the studio to the Arena Theatre had an impact on everyone and we had many boundaries to over come such as the different area space we had to perform in, we were all so use to the space and size of the studio even though we were told many of time through out the devising process that we will be performing in a bigger space. So when we did our first run thorough we were not using the space given correctly and by doing that run through it gave us chance to realise what we needed to improve, such as our work at the front of the stage, we were moving too far forward and it was not being seen from the audience seats. We needed to learn that when we came to floor work near the front that we needed to move it back a little, this was still a problem until the first performance, when I am not quite sure what happened but everyone kicked into gear and moved back. We also needed to make our movements in the periphery smaller and not so abstract that it draws the audience away from what was happening in the middle, again I think the atmosphere of the Arena Theatre hit everyone and this was done well. Also when we moved into the Arena we needed to be aware or the technical equipment around us as there were lanterns that were rigged up at our head and foot height so we needed to make sure we did not bang into them and know them out of the light line they were supposed to be in. this resulted in us going over the piece a few times not only for us but also for the technical team to know the lighting and sound cues, the majority of us started to feel the strain of running over the piece so much and getting tiered however I felt although I was also tiered I needed to go over the piece again so that when we did perform it I was not having to think of anything but just let my body memory do it all. It was not until we got into the Arena that I felt I really connected with the music that was given to Dan, Zara any my scene. i just let my self go to the words of the music and really attached an emotional bond to this piece of music.
3) My own growth throughout the performances was different on every one. On our first performance I found my self thinking too much about the process and thinking what came next which meant I messed up on some bits because I was thinking too much about what I was doing. On the second performance my family came and of course I was very nervous however I loved the performance and remember at the end of Porto I suddenly realise ‘oh we are at the end’ because I was enjoying it so much. This was the same with the final performance because I knew I would never get the chance to perform this piece again I really gave my all in the last performance I have the bruises to prove this, I loved every moment of it and I think this was the same for a lot of people as their emotions were sky high and as we left the stage there were a lot of tears. For my characters own emotions I felt that I left the stage every night happier than the previous performance, my character makes a really strong bond with Zara and I become much more confident in myself. Although Zara leaves the stage before me and I ended up looking for her and only finding her ear phones my character is sad to leave alone which I felt made a strong contrast to when we re entered and I found Zara which made me very happy. The strongest part of the journey for me was he ‘scene’ where Dan takes my ballet shoes out of my bag because I am a mixture of feelings, I am upset to the fact that I felt I was being controlled by Dan to give him my bag however at the same time I craved his affection but was not getting it, it is not until I look to Zara for comfort and a sense of needing help from her, when she does finally get back my ballet shoes off Dan I then know that she will be there for me and that I can trust her.
Bibliography:
Vincent Dance Theatre (2008) [online]. Sheffield: [Home Page] [cited 15th May 2009].
In the ensemble work at the beginning of the piece even though we all had our different characters we all formed together as one to do repetitive movements. It was as if we were trapped in these movements and could not escape them or change our movement to break out of the ensemble, it is not till Nicola enters where she changes the dynamics and everyone quickly forms back into their characters interested and reacting to why she was entering in such distress.
Some characters in Porto changed completely with their emotions that they had in the beginning to at the end, and example of this is Zara, she entered a confident character who was quite stubborn especially in the train scene where she shows this by becoming dominant about her space on the three chairs at the back ignoring those around her. It was not until I started to interact with her that she showed her emotions deep down and that was that she was quite upset because of her past and although she seemed strong on the outside deep down she was sensitive and towards the end of the piece this is shown by us sharing a chair together. So it went from her taking all the space of three chairs to us sharing one. Also at the end of the piece we do a reprise of the ensemble movement we did at the beginning but really slow and controlled and it was interesting to see that Nicola and Jay are in the middle not moving with the ensemble but rather than us react like we did at the beginning, we don’t we continue as a community it is not until Nicolas face is revealed when we react. This shows that as a community we became used to Nicola not being part of the community but when her face is revealed we have not seen this before so initially the community was interested into seeing who she was.
"make devised work as an ensemble and place great emphasis on the personal contribution [and] individual physicality…" (Vincent Dance Theatre http://www.vincentdt.com/artistic-policy.html 2009)
2) I think the initial transition from the studio to the Arena Theatre had an impact on everyone and we had many boundaries to over come such as the different area space we had to perform in, we were all so use to the space and size of the studio even though we were told many of time through out the devising process that we will be performing in a bigger space. So when we did our first run thorough we were not using the space given correctly and by doing that run through it gave us chance to realise what we needed to improve, such as our work at the front of the stage, we were moving too far forward and it was not being seen from the audience seats. We needed to learn that when we came to floor work near the front that we needed to move it back a little, this was still a problem until the first performance, when I am not quite sure what happened but everyone kicked into gear and moved back. We also needed to make our movements in the periphery smaller and not so abstract that it draws the audience away from what was happening in the middle, again I think the atmosphere of the Arena Theatre hit everyone and this was done well. Also when we moved into the Arena we needed to be aware or the technical equipment around us as there were lanterns that were rigged up at our head and foot height so we needed to make sure we did not bang into them and know them out of the light line they were supposed to be in. this resulted in us going over the piece a few times not only for us but also for the technical team to know the lighting and sound cues, the majority of us started to feel the strain of running over the piece so much and getting tiered however I felt although I was also tiered I needed to go over the piece again so that when we did perform it I was not having to think of anything but just let my body memory do it all. It was not until we got into the Arena that I felt I really connected with the music that was given to Dan, Zara any my scene. i just let my self go to the words of the music and really attached an emotional bond to this piece of music.
3) My own growth throughout the performances was different on every one. On our first performance I found my self thinking too much about the process and thinking what came next which meant I messed up on some bits because I was thinking too much about what I was doing. On the second performance my family came and of course I was very nervous however I loved the performance and remember at the end of Porto I suddenly realise ‘oh we are at the end’ because I was enjoying it so much. This was the same with the final performance because I knew I would never get the chance to perform this piece again I really gave my all in the last performance I have the bruises to prove this, I loved every moment of it and I think this was the same for a lot of people as their emotions were sky high and as we left the stage there were a lot of tears. For my characters own emotions I felt that I left the stage every night happier than the previous performance, my character makes a really strong bond with Zara and I become much more confident in myself. Although Zara leaves the stage before me and I ended up looking for her and only finding her ear phones my character is sad to leave alone which I felt made a strong contrast to when we re entered and I found Zara which made me very happy. The strongest part of the journey for me was he ‘scene’ where Dan takes my ballet shoes out of my bag because I am a mixture of feelings, I am upset to the fact that I felt I was being controlled by Dan to give him my bag however at the same time I craved his affection but was not getting it, it is not until I look to Zara for comfort and a sense of needing help from her, when she does finally get back my ballet shoes off Dan I then know that she will be there for me and that I can trust her.
Bibliography:
Vincent Dance Theatre (2008) [online]. Sheffield: [Home Page] [cited 15th May 2009].
Michaela Lloyd 0709448 Blog Post 4
1. Turner explains that a group of liminal individuals can exist in a community where all are ‘equal’ and able to explore free from ‘law, custom, convention and ceremony’ in a realm that can only be described as that of ‘pure possibility and structural invisibility’. As an ensemble we became a group of liminal individuals and the space of Porto became our ‘realm of pure possibility’. [http://www.liminality.org.uk]
This realm was explored using Halprins RSVP model of devising in which the ‘V-validation’ stage of enables the cementing of liminal characters and the scenarios derived from their explorations within the ‘S-scoring’ stage. However, it is the ‘P’ stage of Halprin’s model, the actual performance of the piece that conveys the true content of the piece. [www.puppetcenter.org.uk]
As Porto became a cohesive performance we were able to further explore ourselves within our shared state of liminality. During this final stage of the devising process themes and issues began to emerge throughout the basic structure that altered the complicité between individual characters as well as the ensemble as a whole.
A common theme was our relationships with our bags that had initiated our personal journeys. As our journeys developed and coincided with other characters journeys a prominent common issue of belonging arose- either to an individual character, the ensemble or in the case of Nicola and Blake’s characters, simply belonging and being unable to escape from their own baggage.
Nicola and Blake’s characters had consistently been enigmatic and quite reclusive throughout the initial play sessions during the ‘R’ stage of the devising process. Their presence within Porto became a shared experience for the ensemble that allowed individuals to experience these characters from their own persepctive. Some characters wanted to help them and protect them, whereas other characters were over-whelmed with fear and wanted to hide in the periphery or with members of the ensemble they had developed a relationship with. The experience of these two characters tied the community together with their presence revealing aspects of our personalities that enabled us to develop further individually and as an ensemble as well as our shared curiosity, particularly in the ensemble section with Blake’s fight over his emotional baggage and attachment to his suitcase, embedding both themes of our relationships with our bags and belonging within Porto.
Throughout Porto we had developed and acknowledged that we all had emotional baggage and needed to belong. After witnessing Blake’s struggle with this task, we realised that Nicola’s character was vulnerable and this realisation culminated with the entire ensemble as a community fighting against an invasion of our personal journeys and defending the conclusion of Nicola’s personal journey as Leyna tried to photograph her relationship with Jay.
2. As Porto was given it’s own space within the theatre, several developments occurred. Initially there appeared to be a little resistance from the ensemble as a whole to remain focussed and committed to the work we had created. The theatre space was entirely new to all of us unlike the studio space we had previously been working in which could account for this. As the transition of Porto occurred this became a strength of the process.
Previously the work leading towards the Performance stage of the process had all occurred within a space that the group were familiar with as a teaching space. DV8 describe the devising process as an ‘exploration that continues even after the show is made’ with ‘intuition…and interplay of ideas and meaning between all the people involved, including the audience.’ [www.dv8.co.uk] As we moved into the theatre space the exploration between characters evolved with our exploration of the space that now belonged to Porto. The space actually was a transient space where we were able to completely remove our own characteristics and become our characters within Porto. To an extent this was a factor that had been hindered within the studio space as we were surrounded by reminders of our academic lives.
Within the theatre space interplay even on the periphery was strengthened with new relationships being formed and relationships that had emerged previously being developed. My character’s friendship with Ana’s character gained depth as we acknowledged that we both wanted to protect Nicola and we developed a mutual trust and understanding of one another. Ellen and Mikey’s relationship completely altered as it went from mutual affection to Ellen resenting Mikey and refusing to have further contact with him after their duet work. These developments only occurred within the theatre space, possibly due to the freedom that the space gave our characters to develop that we had previously unintentionally limited when working in the studio.
Oddey places great emphasis on the importance of play within the devising process. As an ensemble exploring our characters through play sessions in the studio had been a productive means of character development and the ensemble’s complicité. However when we had play sessions in the theatre, the extent of the developments were more sincere with the new relationships being explored as well as existing relationships continuing to develop even during the performances. Again the space could be accountable for this as it belonged entirely to the ensemble and Porto. Overall, the transition from the studio to the theatre space strengthened the ensemble of Porto but held the possibility to completely alter the piece we had previously created.
3. The RSVP model continued to apply at this stage as Haplrin explains that once the performance is reached, the cycle begins again with a new exploration of the Resource stage. [http://www.puppetcentre.org.uk]. This had begun as we had moved into the theatre space and at Porto’s first performance the group were unsure of their characters and the sense of ensemble was unsettled by the arrival of an audience. From this stage over the three shows the performance grew quite rapidly
During the first performance my character was not fully developed and I did not feel comfortable with the changes and new relationships that had occurred during the transition from the studio to the theatre space. It is acknowledged that an audience can affect actors by the ’quality of their attention’ (p 27 Brook 2008) and my initial apprehension of my character’s new connections made me more aware of the audience than my role in Porto. In this performance I believe my emotional involvement and place within the ensemble was hindered as my character had not fully adapted to the new environment and had not established the new relationships that had began to emerge. However, during the play session preceding our second performance I began to feel more settled as part of the ensemble and began to realise my place within the performance.
As my character was evolving within Porto I needed to make sense of the new surroundings, relationships and my own understanding within the piece of what my aim was and whom I had or wanted to make connections with and found myself relying on my initial Resource, my quest to find someone to love. This strengthened the opening ensemble section for the second performance. I felt as though we were more connected as an ensemble and more aware of our peripheral vision and the context of Porto throughout. It was during this performance that my relationship with Luke developed most.
I had always felt a strong emotional connection with Luke’s character from the initial Resource work at the beginning of the process. However up until this point I had never entirely felt as though our relationship was completely genuine. It was almost as if I was adopting characteristics I believed synonymous with love rather than simply relying on impulses my character felt and wanted to act upon. In the second performance I genuinely felt as though I had fallen in-love with Luke and each time he turned me away I felt genuine distress and a sense of betrayal. It affected me so much that I found myself entranced by the love triangle with Gavin, Sarah and Amy, as it appeared to mirror what was occurring in the periphery with Luke and myself. I felt a connection with Amy as Gavin spurned her in the same manner Luke was at that point- albeit on the periphery- rejecting me in favour of Emma. I watched Amy as she tried to gain Gavin’s affections and saw how she ended up alone and related that to Luke and my relationship. At that point I gained a determination my character had never had before. I was certain that by whatever means necessary I would not leave Porto alone. These experiences formed the backbone of my character for the final show in which the ensemble were cemented as a community, aware of their roles within the piece and during which I lived in Porto completely. The relationships I encountered and my place within the community were more than cemented- they were genuine.
Bibliography :
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
Brook, P The Empty Space Penguin Modern classics 2008
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.dv8.co.uk/faqs/faqs.html#four (accessed 9th May 2009 18.30)
http://www.liminality.org/about/whatisliminality/ (accesed 9th May 2009 19.10)
http://www.puppetcentre.org.uk/animationsonline/aonineteen/playprocessproduct.html (accessed 9th May 2009 19.40)
Porto performances at the Arena Theatre, Wulfruna Street, Wolverhampton, Thursday 7th May 2009, 1.oo p.m and 7.30 p.m, Friday 8th May 7.30pm
This realm was explored using Halprins RSVP model of devising in which the ‘V-validation’ stage of enables the cementing of liminal characters and the scenarios derived from their explorations within the ‘S-scoring’ stage. However, it is the ‘P’ stage of Halprin’s model, the actual performance of the piece that conveys the true content of the piece. [www.puppetcenter.org.uk]
As Porto became a cohesive performance we were able to further explore ourselves within our shared state of liminality. During this final stage of the devising process themes and issues began to emerge throughout the basic structure that altered the complicité between individual characters as well as the ensemble as a whole.
A common theme was our relationships with our bags that had initiated our personal journeys. As our journeys developed and coincided with other characters journeys a prominent common issue of belonging arose- either to an individual character, the ensemble or in the case of Nicola and Blake’s characters, simply belonging and being unable to escape from their own baggage.
Nicola and Blake’s characters had consistently been enigmatic and quite reclusive throughout the initial play sessions during the ‘R’ stage of the devising process. Their presence within Porto became a shared experience for the ensemble that allowed individuals to experience these characters from their own persepctive. Some characters wanted to help them and protect them, whereas other characters were over-whelmed with fear and wanted to hide in the periphery or with members of the ensemble they had developed a relationship with. The experience of these two characters tied the community together with their presence revealing aspects of our personalities that enabled us to develop further individually and as an ensemble as well as our shared curiosity, particularly in the ensemble section with Blake’s fight over his emotional baggage and attachment to his suitcase, embedding both themes of our relationships with our bags and belonging within Porto.
Throughout Porto we had developed and acknowledged that we all had emotional baggage and needed to belong. After witnessing Blake’s struggle with this task, we realised that Nicola’s character was vulnerable and this realisation culminated with the entire ensemble as a community fighting against an invasion of our personal journeys and defending the conclusion of Nicola’s personal journey as Leyna tried to photograph her relationship with Jay.
2. As Porto was given it’s own space within the theatre, several developments occurred. Initially there appeared to be a little resistance from the ensemble as a whole to remain focussed and committed to the work we had created. The theatre space was entirely new to all of us unlike the studio space we had previously been working in which could account for this. As the transition of Porto occurred this became a strength of the process.
Previously the work leading towards the Performance stage of the process had all occurred within a space that the group were familiar with as a teaching space. DV8 describe the devising process as an ‘exploration that continues even after the show is made’ with ‘intuition…and interplay of ideas and meaning between all the people involved, including the audience.’ [www.dv8.co.uk] As we moved into the theatre space the exploration between characters evolved with our exploration of the space that now belonged to Porto. The space actually was a transient space where we were able to completely remove our own characteristics and become our characters within Porto. To an extent this was a factor that had been hindered within the studio space as we were surrounded by reminders of our academic lives.
Within the theatre space interplay even on the periphery was strengthened with new relationships being formed and relationships that had emerged previously being developed. My character’s friendship with Ana’s character gained depth as we acknowledged that we both wanted to protect Nicola and we developed a mutual trust and understanding of one another. Ellen and Mikey’s relationship completely altered as it went from mutual affection to Ellen resenting Mikey and refusing to have further contact with him after their duet work. These developments only occurred within the theatre space, possibly due to the freedom that the space gave our characters to develop that we had previously unintentionally limited when working in the studio.
Oddey places great emphasis on the importance of play within the devising process. As an ensemble exploring our characters through play sessions in the studio had been a productive means of character development and the ensemble’s complicité. However when we had play sessions in the theatre, the extent of the developments were more sincere with the new relationships being explored as well as existing relationships continuing to develop even during the performances. Again the space could be accountable for this as it belonged entirely to the ensemble and Porto. Overall, the transition from the studio to the theatre space strengthened the ensemble of Porto but held the possibility to completely alter the piece we had previously created.
3. The RSVP model continued to apply at this stage as Haplrin explains that once the performance is reached, the cycle begins again with a new exploration of the Resource stage. [http://www.puppetcentre.org.uk]. This had begun as we had moved into the theatre space and at Porto’s first performance the group were unsure of their characters and the sense of ensemble was unsettled by the arrival of an audience. From this stage over the three shows the performance grew quite rapidly
During the first performance my character was not fully developed and I did not feel comfortable with the changes and new relationships that had occurred during the transition from the studio to the theatre space. It is acknowledged that an audience can affect actors by the ’quality of their attention’ (p 27 Brook 2008) and my initial apprehension of my character’s new connections made me more aware of the audience than my role in Porto. In this performance I believe my emotional involvement and place within the ensemble was hindered as my character had not fully adapted to the new environment and had not established the new relationships that had began to emerge. However, during the play session preceding our second performance I began to feel more settled as part of the ensemble and began to realise my place within the performance.
As my character was evolving within Porto I needed to make sense of the new surroundings, relationships and my own understanding within the piece of what my aim was and whom I had or wanted to make connections with and found myself relying on my initial Resource, my quest to find someone to love. This strengthened the opening ensemble section for the second performance. I felt as though we were more connected as an ensemble and more aware of our peripheral vision and the context of Porto throughout. It was during this performance that my relationship with Luke developed most.
I had always felt a strong emotional connection with Luke’s character from the initial Resource work at the beginning of the process. However up until this point I had never entirely felt as though our relationship was completely genuine. It was almost as if I was adopting characteristics I believed synonymous with love rather than simply relying on impulses my character felt and wanted to act upon. In the second performance I genuinely felt as though I had fallen in-love with Luke and each time he turned me away I felt genuine distress and a sense of betrayal. It affected me so much that I found myself entranced by the love triangle with Gavin, Sarah and Amy, as it appeared to mirror what was occurring in the periphery with Luke and myself. I felt a connection with Amy as Gavin spurned her in the same manner Luke was at that point- albeit on the periphery- rejecting me in favour of Emma. I watched Amy as she tried to gain Gavin’s affections and saw how she ended up alone and related that to Luke and my relationship. At that point I gained a determination my character had never had before. I was certain that by whatever means necessary I would not leave Porto alone. These experiences formed the backbone of my character for the final show in which the ensemble were cemented as a community, aware of their roles within the piece and during which I lived in Porto completely. The relationships I encountered and my place within the community were more than cemented- they were genuine.
Bibliography :
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
Brook, P The Empty Space Penguin Modern classics 2008
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.dv8.co.uk/faqs/faqs.html#four (accessed 9th May 2009 18.30)
http://www.liminality.org/about/whatisliminality/ (accesed 9th May 2009 19.10)
http://www.puppetcentre.org.uk/animationsonline/aonineteen/playprocessproduct.html (accessed 9th May 2009 19.40)
Porto performances at the Arena Theatre, Wulfruna Street, Wolverhampton, Thursday 7th May 2009, 1.oo p.m and 7.30 p.m, Friday 8th May 7.30pm
Final Blog - Luke Manley - 0705972
[1]
Before we digest the Reshearch, Score, Valadation, Process (RSVP) we must understand the meaning of Physical Theatre, in its broadest term.
Physical theatre is a general term used to describe any mode of performance that pursues storytelling through primarily physical means, this in the case in question, being the production of Porto.
As the process of Porto moved from the Valadation to the Process stage of devising, the most common themes and issues that the cast found that kept emerging were, conflict, waiting, self descovery, trust, love and a community of indaviduals emerging together as an ensamble.
An example of one the themes from Porto, specifically with my character was shearching. I felt that this was an immensly strong issue within my characters journey and indeed within Porto, as it was an extension of my personal emotions, and I feel that with the process of Porto, it helped me to overcome those emotions.
The obviouse experience that tied the Porto community together was the ensamble. This suggested, that even though we are all individuals there is one thing that conects us all together, this being the journeys we travel, creating a community ensamble.
Although we cannot comment on each performers personal jourent through Porto (each charcter is an individual) “The search for expression results in individual moments…” (Climenhaga, 2009, Pg62). We all had our own personal emotions which we wanted to explore, and by doing so we created individual movments, which was evident within the periphery as well as center area.
During the whole ensamble, although the movments were exactly the same as the whole of the commuity, each charcter would put a different ammount of emotion into it.
[2]
As Porto moved from rehearsal space (studio) to performance space (theatre), the cast felt an imidiate change. The professional attitude towards Porto took over, as we were no longer students, but performers.
The first experience of Porto within the theatre space was a difficult expericane to digest, as it was to be performed for technical reasons, and was difficult to fully grasp the emotions of my character as I had previosuly hoped for. We felt that although it was a necessity and needed to be done, the characters we not able to adjust to the new enviroment as quickly as we thought.
“The actors’s skill if to fill his space, to inhabit it fully: to be there, totally, in the moment of performance.” (Frost & Yarrow, 1990, Pg100)
Once the technical had sucssesfuly run through, the community had time to introduce the characters of Porto into the new enviroment. This allowed each performer to adjust changes with their characters, as each of the characters were being introduced to a new area, and some found that their emotions, movements, reactions and general behaviour changed.
This was immenlsy evident within my character, as I feel his emotions changed from shy, to desperation and despondent. The new enviroment was a major factor in adjusting my characters emotions. Once the lights and music where introduced together I felt an imidiate reaction to Porto, and thought, this area had changed the way I feel towards the persons he makes contact with. And although it was the performance, I was still exploring new emotions and meeting new characters within Porto during the transition between the two spaces.
Although with the technical and the transition, there were weaknesses, I feel that my character had evolved into someone different during the time. I felt that I was able to touch on deeper emotiond and to fully explore his own transition between the spaces.
The transitions also allowed me to reflect myself into my character, and by doing so, my character became an extension of myself.
Once in the new enviroment of Porto, I always become my character as well as the space itself. The space of Porto was mearly an extension of my character, which was an extension of myself.
“The central principle of ‘presence’ is mental and imaginative. It is a matter of concentrating without straining, attending and behaving in accord with the situation.” (Frost & Yarrow, 1990, Pg 101)
[3]
“Activating and sharpening the physical nature of preception is fundamental; it develops a consciousness linked to theatrical presence: being awake, alert, attentive, constantly being ‘in the moment’.” (Callery, 2001, Pg 22)
Over the three productions of Porto, my own physical precense grew immensly. I wanted my character to develop an understanding from each show and to use it to inflict into the next show, ultimatily growing his emotions and developing into a transformed character within the last performance. I wanted to take the knowladge and skills which I may have learnt from previous shows and to inject new life into each show, helping my character to understand his goal within Porto.
Reshearch
I would keep rechearching Physical theatre throught the whole process of Porto hoping that with each rehersal and show the influences I may have come across or the companys I studied would be able to influence me. An example beoing, I payed a lot of attention to DV8 and the social issues they inject into their productions. One DV8 production I payed particualr attention to was Strange Fish. Which looks at a quest for someone to love and something, or someone, to believe in. The tyranny of couples and groups, the pain of not belongingand the fear of being alone. This helped me to disect my characters emotions and to develop his movements and to use the influences of DV8 in my own work during Porto.
Score
Once the chronological order was announced, I felt that my character could then fully explore his journey, as he now knew where he could go through and what emotional state he was at certain points. This also allowed my character to explore new things, such as developing relationships once in the periphery.
Valadation
Valadating Porto was a very strong part of the process, as we had a long running time previous to working in the rehersal space. The timing and slickness of Porto is a major contribution to the effects of the characters emotions, as a character would not have enough time to reflect on the ceratin event, or have too much time to relfect.
Process
“When an improvising actor gets into difficulties, he or she has to know that somebody will come to their rescure, and that somebody will take what they are offering to develop it.” (Frost & Yarrow, 1990, Pg105)
Even during the final shows of Porto, improvisation was sytil a major player within. If something went wrong the cast would have to work around the difficulties on stage. Or also during the final shows the process for developing and finding new depths within the performers characters would still be developing, as I had found with my character, he was at conflict with himself during the final show of Porto, but this still led me to come to new conclusions about him and his journey.
Bibliography.
Climenhaga, R. (2009) Pina Bausch Routledge
Frost, A. and Yarrow, R (1990) Improvisation In Drama The Macmillan Press Ltd
Lecoq, J. (2006) Theatre of Movement and gesture Routledge
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre Nick Hern Books Ltd.
www.dv8.co.uk
Before we digest the Reshearch, Score, Valadation, Process (RSVP) we must understand the meaning of Physical Theatre, in its broadest term.
Physical theatre is a general term used to describe any mode of performance that pursues storytelling through primarily physical means, this in the case in question, being the production of Porto.
As the process of Porto moved from the Valadation to the Process stage of devising, the most common themes and issues that the cast found that kept emerging were, conflict, waiting, self descovery, trust, love and a community of indaviduals emerging together as an ensamble.
An example of one the themes from Porto, specifically with my character was shearching. I felt that this was an immensly strong issue within my characters journey and indeed within Porto, as it was an extension of my personal emotions, and I feel that with the process of Porto, it helped me to overcome those emotions.
The obviouse experience that tied the Porto community together was the ensamble. This suggested, that even though we are all individuals there is one thing that conects us all together, this being the journeys we travel, creating a community ensamble.
Although we cannot comment on each performers personal jourent through Porto (each charcter is an individual) “The search for expression results in individual moments…” (Climenhaga, 2009, Pg62). We all had our own personal emotions which we wanted to explore, and by doing so we created individual movments, which was evident within the periphery as well as center area.
During the whole ensamble, although the movments were exactly the same as the whole of the commuity, each charcter would put a different ammount of emotion into it.
[2]
As Porto moved from rehearsal space (studio) to performance space (theatre), the cast felt an imidiate change. The professional attitude towards Porto took over, as we were no longer students, but performers.
The first experience of Porto within the theatre space was a difficult expericane to digest, as it was to be performed for technical reasons, and was difficult to fully grasp the emotions of my character as I had previosuly hoped for. We felt that although it was a necessity and needed to be done, the characters we not able to adjust to the new enviroment as quickly as we thought.
“The actors’s skill if to fill his space, to inhabit it fully: to be there, totally, in the moment of performance.” (Frost & Yarrow, 1990, Pg100)
Once the technical had sucssesfuly run through, the community had time to introduce the characters of Porto into the new enviroment. This allowed each performer to adjust changes with their characters, as each of the characters were being introduced to a new area, and some found that their emotions, movements, reactions and general behaviour changed.
This was immenlsy evident within my character, as I feel his emotions changed from shy, to desperation and despondent. The new enviroment was a major factor in adjusting my characters emotions. Once the lights and music where introduced together I felt an imidiate reaction to Porto, and thought, this area had changed the way I feel towards the persons he makes contact with. And although it was the performance, I was still exploring new emotions and meeting new characters within Porto during the transition between the two spaces.
Although with the technical and the transition, there were weaknesses, I feel that my character had evolved into someone different during the time. I felt that I was able to touch on deeper emotiond and to fully explore his own transition between the spaces.
The transitions also allowed me to reflect myself into my character, and by doing so, my character became an extension of myself.
Once in the new enviroment of Porto, I always become my character as well as the space itself. The space of Porto was mearly an extension of my character, which was an extension of myself.
“The central principle of ‘presence’ is mental and imaginative. It is a matter of concentrating without straining, attending and behaving in accord with the situation.” (Frost & Yarrow, 1990, Pg 101)
[3]
“Activating and sharpening the physical nature of preception is fundamental; it develops a consciousness linked to theatrical presence: being awake, alert, attentive, constantly being ‘in the moment’.” (Callery, 2001, Pg 22)
Over the three productions of Porto, my own physical precense grew immensly. I wanted my character to develop an understanding from each show and to use it to inflict into the next show, ultimatily growing his emotions and developing into a transformed character within the last performance. I wanted to take the knowladge and skills which I may have learnt from previous shows and to inject new life into each show, helping my character to understand his goal within Porto.
Reshearch
I would keep rechearching Physical theatre throught the whole process of Porto hoping that with each rehersal and show the influences I may have come across or the companys I studied would be able to influence me. An example beoing, I payed a lot of attention to DV8 and the social issues they inject into their productions. One DV8 production I payed particualr attention to was Strange Fish. Which looks at a quest for someone to love and something, or someone, to believe in. The tyranny of couples and groups, the pain of not belongingand the fear of being alone. This helped me to disect my characters emotions and to develop his movements and to use the influences of DV8 in my own work during Porto.
Score
Once the chronological order was announced, I felt that my character could then fully explore his journey, as he now knew where he could go through and what emotional state he was at certain points. This also allowed my character to explore new things, such as developing relationships once in the periphery.
Valadation
Valadating Porto was a very strong part of the process, as we had a long running time previous to working in the rehersal space. The timing and slickness of Porto is a major contribution to the effects of the characters emotions, as a character would not have enough time to reflect on the ceratin event, or have too much time to relfect.
Process
“When an improvising actor gets into difficulties, he or she has to know that somebody will come to their rescure, and that somebody will take what they are offering to develop it.” (Frost & Yarrow, 1990, Pg105)
Even during the final shows of Porto, improvisation was sytil a major player within. If something went wrong the cast would have to work around the difficulties on stage. Or also during the final shows the process for developing and finding new depths within the performers characters would still be developing, as I had found with my character, he was at conflict with himself during the final show of Porto, but this still led me to come to new conclusions about him and his journey.
Bibliography.
Climenhaga, R. (2009) Pina Bausch Routledge
Frost, A. and Yarrow, R (1990) Improvisation In Drama The Macmillan Press Ltd
Lecoq, J. (2006) Theatre of Movement and gesture Routledge
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre Nick Hern Books Ltd.
www.dv8.co.uk
Hannah Page.
1.) Throughout the ‘P’ stage of the devising of Porto it became apparent that certain themes had become to weave themselves through the fabric of the piece. These themes being loss, uncertainty, hope, fear and the main theme that stood out for me was obsession. Throughout the sub-groups many different themes were reflected through their work, but obsession for me stood out as a theme that run through almost all of them, for example; Jay’s obsession with Nicola or Sarah’s obsession with Gavin. The obsessive as theme translates many different emotions and themes within it and for my character her obsession with Edward could also have been translating a theme of love or need for Edward to the audience.
The ensemble pieces translated a theme of obsession in their repetitive movements. These movements showed how as a community they are obsessed with conforming to each other and not their own free will. This theme is then revisited in the ‘ensemble reprise’ Where the same movements are used but at a slower pace, showing that although everyone has experienced their own individual journeys they are still a community and still conform to one another.
2.) As the ensemble moved from the studio to the theatre it was apparent how difficult it was devising in such a small studio space. With the freedom of a larger theatre, as well as the extra wing space, the freedom to move around opened up the entire piece.
This helped with making a focus on the journeys going on centre stage because they had more room to move about and the ensemble didn’t seem so boxed in.
This helped with making a focus on the journeys going on centre stage because they had more room to move about and the ensemble didn’t seem so boxed in.
This strength of space however also caused a weakness because although we had all this new space to ‘play around with’ we had to loose half the space because any floor work done past a certain point would not be seen by the audience at the back. This meant we had to shift chairs and move our work much further back than we had originally intended. Another weakness of moving from the studio to the theatre was that in the theatre their were no hiding places. In the studio you could leave the room or go behind a curtain, but in the theatre everything was stripped back so the ensemble had nowhere to hide. “Everything and actor does is seen and interpreted. The actor informs through his physicality, In silence,” (The Articulate Body: The Physical Training Of The Actor. Pg 10) this awareness that they will be constantly on stage and constantly performing unnerved a few of the ensemble upon entering the space and dramatically changed their periphery work.
3.) When starting to run the three shows it became apparent that characters where still finding out new things about themselves and new connections with other members of the ensemble, and even throughout the final performances these new connections were being made. The main example for me was during the exits from ‘Porto’ during the first performance Waquar put his hand out to me, something which to my knowledge he had never done, or at least I had never notice him do before. It surprised me that even after six months of rehearsals and polishing the finishing product the ensemble was still driven by their impulses.
For me, I feel that my character didn’t really flourish until the dress rehearsal. Until that point I was just a lonely character, seeking acceptance by copying those around me, especially Edward and Roxanne. I would copy the way they stood and how they behaved to try and gain their acceptance. However, during the dress rehearsal Roxanne had left the ’podium’ leaving just Edward and I. I then received an impulse to calm Edward as he seemed upset that Roxanne had left him behind, but every time my character would go to touch him something would stop her, or her would turn away. This impulse touch Edward grew and grew until during the ‘ensemble reprise’ in the second dress rehearsal run through I touched Edward. The reaction from him was to shove my character away which ended up in my character falling to the floor in desperation. For me the RSVP model applied the whole way through the final stages of the piece as the day before the first show I was scoring and validating new material.
With this type of work I feel that it is hard to stick to a set string of movements or polished work because as I found, you are always developing new things and new movements and with no script to follow you are free to move with those impulses.
In my entrance I was really uncertain of what I wanted to do, this lead to many changes in how I approached my entrance. It wasn’t until before the first show when we got into character at our most extreme emotional point in the piece that my entrance became concrete. At my most emotional point my character Is upset and frustrated with trying to get Edward to notice her. Starting the show at this heightened emotional state for me meant that I had to keep that level of intensity and then really add some power behind it to make it even more intense for my character pivotal moment.
Bibliography.
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
Dennis, A The Articulate Body: The Physical
3.) When starting to run the three shows it became apparent that characters where still finding out new things about themselves and new connections with other members of the ensemble, and even throughout the final performances these new connections were being made. The main example for me was during the exits from ‘Porto’ during the first performance Waquar put his hand out to me, something which to my knowledge he had never done, or at least I had never notice him do before. It surprised me that even after six months of rehearsals and polishing the finishing product the ensemble was still driven by their impulses.
For me, I feel that my character didn’t really flourish until the dress rehearsal. Until that point I was just a lonely character, seeking acceptance by copying those around me, especially Edward and Roxanne. I would copy the way they stood and how they behaved to try and gain their acceptance. However, during the dress rehearsal Roxanne had left the ’podium’ leaving just Edward and I. I then received an impulse to calm Edward as he seemed upset that Roxanne had left him behind, but every time my character would go to touch him something would stop her, or her would turn away. This impulse touch Edward grew and grew until during the ‘ensemble reprise’ in the second dress rehearsal run through I touched Edward. The reaction from him was to shove my character away which ended up in my character falling to the floor in desperation. For me the RSVP model applied the whole way through the final stages of the piece as the day before the first show I was scoring and validating new material.
With this type of work I feel that it is hard to stick to a set string of movements or polished work because as I found, you are always developing new things and new movements and with no script to follow you are free to move with those impulses.
In my entrance I was really uncertain of what I wanted to do, this lead to many changes in how I approached my entrance. It wasn’t until before the first show when we got into character at our most extreme emotional point in the piece that my entrance became concrete. At my most emotional point my character Is upset and frustrated with trying to get Edward to notice her. Starting the show at this heightened emotional state for me meant that I had to keep that level of intensity and then really add some power behind it to make it even more intense for my character pivotal moment.
Bibliography.
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
Dennis, A The Articulate Body: The Physical
Thursday 14 May 2009
Roxanne Mcdermott, final blog.
[1]
From the Beginning of creating Porto we were never made aware of a particular theme or issue that we had to address in the piece, unlike in what is seen as traditional theatre were often the theme is what starts the development.
However since moving from the V stage of devising Porto to the P stage we have seen 3 dominant themes developing; love, jealousy and friendship. Although at times these themes may not have always been apparent, it always seemed to be these 3 issues that were being covered in each sub group.
When firmly in the V stage, it seemed that somehow on a sub-conscious level we had created issues that pushed our characters, without realising it, we had created a purpose for ourselves within Porto and themes that could now be shared within the entire group.
As a ensemble these issues become more and more prominent when we reached the P stage, from an audiences point of view the first theme would of been desperation, in the opening you see us a group becoming restless with this limbo we have found ourselves in, although at times our reactions to things seemed un- naturalistic, it was these scenes that the audience could relate to for example, the scene were Blake's character tries to keep himself away from his constant need to be in contact with his suitcase, you see us as an ensemble repeating his movements, this although exaggerated is the way people react when they don't know what to do. It was moments like this were the themes were most noticeable. Another clear ensemble moment was during what is known to us as the reprise, here you see the group at a point where we don't know what else to do but follow each other, our characters were now at a point were we had tackled our personal issues and needed to escape.
[2]
After successfully completing the R and S stages of Halprin's devising model, the group were gradually becoming confident with the piece, although at times becoming irritable with the process we could now see a strong piece with a clear structure. Throughout all of the in class rehearsals you could see the development of both individual work and ensemble work, everything had gradually become stronger; the timings, the movements,and the energy would increase immensely with every rehearsal. However it was not until we moved into the theatre were you could see the real raw emotion of each character, once in the theatre you really did feel that you were now in Porto this place where you knew not how you got there or why, or how you could escape, this sense of panic and frustration helped to build such intense feelings that grew and grew with every run through.
Although saying this at first it did seem that because we had made this transition into the theatre we were now thinking of it more as a piece of theatre instead of state of being which was our first approach. We gradually become more aware of the lighting and the sound and everything outside of the world we had taken so long to create, which at times disturbed our concentration which of course affected the overall affect.
After this however the group again regained its perspective over the piece and decided to carry on with the same level of compassion towards each other and the end result.
Even though we encountered this problem it did became yet another thing to focus our energy on, towards the end of rehearsing in the studio, the groups energy was beginning to become too relaxed, this change of scenery was the perfect thing to regenerate all of the feelings we had already discovered about the piece and now we could build on it.
With this transition the groups ensemble work was now showing a intensity that had not yet been seen in the studio, emotions had become clearer, even in the last performance you could feel different responses to what was happening It became the strangest feeling to know exactly what was happening yet not know anything.
[3]
To all involved in Porto the growth between each performance became increasingly apparent with every show the intensity and desperation of the characters multiplied.
To begin each character was given the chance to bring their baggage into the performance area while the audience were entering. So whilst it wasn't exactly vital for them to see your initial entrance, it helped to round off the character.
On a personal level character development was always going to be the biggest struggle, the connection between myself and my character seemed un- reachable at first but then throughout the devising period I began to create this 'alter ego' a dark menacing character which I had never yet played.
To begin with my character was closely related to Edwards, creating a comfort zone for both me and my character, it was when i began to move away from him that i felt the development.
While at times there was focus on certain people we were able to develop our characters throughout the whole piece.
Our characters became the the only ones that actually came out of the action completely to develop our characters. Everyone froze during our section whereas every other section things were still going on around the action. Therefore it could be thought that our two characters were therefore the only two that the audience openly got to see the thoughts of.
I have always found it hard to relate to a character,I feel that because this particular character was the furthest away from naturally I became so intrigued by her that I had to constantly develop her mainly so that i could understand her thinking.
``I loved to dance because I was scared to speak. When I was moving, I could feel.''
(Pina Bausch, Lawson (2002)
This quote to me is the exact way i felt throughout the entire RSVP model, through the use of movement and expression I found a way to expose my journey in a way I could have never done through words.
Bibliography
Lawson, V
2002
Pina, Queen of the Deep
In : http://www.ballet.co.uk/magazines/yr_02/feb02/interview_bausch.htm
From the Beginning of creating Porto we were never made aware of a particular theme or issue that we had to address in the piece, unlike in what is seen as traditional theatre were often the theme is what starts the development.
However since moving from the V stage of devising Porto to the P stage we have seen 3 dominant themes developing; love, jealousy and friendship. Although at times these themes may not have always been apparent, it always seemed to be these 3 issues that were being covered in each sub group.
When firmly in the V stage, it seemed that somehow on a sub-conscious level we had created issues that pushed our characters, without realising it, we had created a purpose for ourselves within Porto and themes that could now be shared within the entire group.
As a ensemble these issues become more and more prominent when we reached the P stage, from an audiences point of view the first theme would of been desperation, in the opening you see us a group becoming restless with this limbo we have found ourselves in, although at times our reactions to things seemed un- naturalistic, it was these scenes that the audience could relate to for example, the scene were Blake's character tries to keep himself away from his constant need to be in contact with his suitcase, you see us as an ensemble repeating his movements, this although exaggerated is the way people react when they don't know what to do. It was moments like this were the themes were most noticeable. Another clear ensemble moment was during what is known to us as the reprise, here you see the group at a point where we don't know what else to do but follow each other, our characters were now at a point were we had tackled our personal issues and needed to escape.
[2]
After successfully completing the R and S stages of Halprin's devising model, the group were gradually becoming confident with the piece, although at times becoming irritable with the process we could now see a strong piece with a clear structure. Throughout all of the in class rehearsals you could see the development of both individual work and ensemble work, everything had gradually become stronger; the timings, the movements,and the energy would increase immensely with every rehearsal. However it was not until we moved into the theatre were you could see the real raw emotion of each character, once in the theatre you really did feel that you were now in Porto this place where you knew not how you got there or why, or how you could escape, this sense of panic and frustration helped to build such intense feelings that grew and grew with every run through.
Although saying this at first it did seem that because we had made this transition into the theatre we were now thinking of it more as a piece of theatre instead of state of being which was our first approach. We gradually become more aware of the lighting and the sound and everything outside of the world we had taken so long to create, which at times disturbed our concentration which of course affected the overall affect.
After this however the group again regained its perspective over the piece and decided to carry on with the same level of compassion towards each other and the end result.
Even though we encountered this problem it did became yet another thing to focus our energy on, towards the end of rehearsing in the studio, the groups energy was beginning to become too relaxed, this change of scenery was the perfect thing to regenerate all of the feelings we had already discovered about the piece and now we could build on it.
With this transition the groups ensemble work was now showing a intensity that had not yet been seen in the studio, emotions had become clearer, even in the last performance you could feel different responses to what was happening It became the strangest feeling to know exactly what was happening yet not know anything.
[3]
To all involved in Porto the growth between each performance became increasingly apparent with every show the intensity and desperation of the characters multiplied.
To begin each character was given the chance to bring their baggage into the performance area while the audience were entering. So whilst it wasn't exactly vital for them to see your initial entrance, it helped to round off the character.
On a personal level character development was always going to be the biggest struggle, the connection between myself and my character seemed un- reachable at first but then throughout the devising period I began to create this 'alter ego' a dark menacing character which I had never yet played.
To begin with my character was closely related to Edwards, creating a comfort zone for both me and my character, it was when i began to move away from him that i felt the development.
While at times there was focus on certain people we were able to develop our characters throughout the whole piece.
Our characters became the the only ones that actually came out of the action completely to develop our characters. Everyone froze during our section whereas every other section things were still going on around the action. Therefore it could be thought that our two characters were therefore the only two that the audience openly got to see the thoughts of.
I have always found it hard to relate to a character,I feel that because this particular character was the furthest away from naturally I became so intrigued by her that I had to constantly develop her mainly so that i could understand her thinking.
``I loved to dance because I was scared to speak. When I was moving, I could feel.''
(Pina Bausch, Lawson (2002)
This quote to me is the exact way i felt throughout the entire RSVP model, through the use of movement and expression I found a way to expose my journey in a way I could have never done through words.
Bibliography
Lawson, V
2002
Pina, Queen of the Deep
In : http://www.ballet.co.uk/magazin
Thursday 30 April 2009
Final Blog Task
Deadline: Friday, 15th May 2009, 5 pmWord Count: 1200 words ( 300 + 400 + 500 words)
There are 3 questions you need to respond to
The questions this time are mostly reflective, however should still be analytical and not descriptive academic writing
Wider independent research, particularly from physical theatre practitioners via company websites should be used to support your opinions
Present your writing in academic language with Harvard Referencing and a bibliography
presented alphabetically at the end of your post
PLEASE TYPE YOUR FULL NAME IN THE POST TITLE
Questions:1. As the creative process turned from the 'V' stage to the 'P' stage of devising, and Porto started to come together as one cohesive performance, what were the common themes and issues that were beginning to emerge through the basic fabric of the piece? Despite the individual journeys, what shared experiences tied the community together apart from their state of liminality? Discuss with clear and succinct examples. (300 words)
2. Critically evaluate the transition of Porto as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (400 words)
3. Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (500 words)
There are 3 questions you need to respond to
The questions this time are mostly reflective, however should still be analytical and not descriptive academic writing
Wider independent research, particularly from physical theatre practitioners via company websites should be used to support your opinions
Present your writing in academic language with Harvard Referencing and a bibliography
presented alphabetically at the end of your post
PLEASE TYPE YOUR FULL NAME IN THE POST TITLE
Questions:1. As the creative process turned from the 'V' stage to the 'P' stage of devising, and Porto started to come together as one cohesive performance, what were the common themes and issues that were beginning to emerge through the basic fabric of the piece? Despite the individual journeys, what shared experiences tied the community together apart from their state of liminality? Discuss with clear and succinct examples. (300 words)
2. Critically evaluate the transition of Porto as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (400 words)
3. Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (500 words)
Wednesday 1 April 2009
blog 3
1) In the process of starting and creating the performance of Porto, the use of RSVP was put into place. RSVP is a model of devising created by Halprins’s, this was put into place to explore different elements and approaches to the performance. The R and S phrase in the devising process are very important and make a performance. A detailed study of a subject, especially in order to discover (new) information or reach a (new) understanding. (Cambridge Dictionaries Online Cambridge University Press 2003)The R phase is the research/resource phrase, this is vital in any performance. It can be a stage of experimenting and exploring a certain phrase. In the First few weeks of play sessions we explored different ways which we could move through the use of the body and express ourselves through physical movements. Scoring phase is a refinement of material that is created in the research phrase. Characters in the scoring phrase understand why they are moving and emotional connect to there character and find a reason to move and have purpose.
2)Porto is now in its stages of scoring the performance and is close to its finally performance. When creating Porto there has always oneelement that created the structure of the performance. Structure in Porto was created through the use of bags and based on the knowledge we have left everything behind and was in an unknown place . Without the use of the bags and its content throughout the performance I think there would be no purpose and meaning. Our bags in Porto makes us who we are and particular what it contains inside them, our one item that defines us. All material created throughout Porto in some way or another has related to our items and bags we carry.
Different sections throughout Porto have related to who we are and what our item represents to us. We interact with similar people with same physicality and emotional status within Porto. In the big ensembles, I feel these are structured and link the whole performance together and reminds us where we are and why we are stuck in Porto.
3)My character in Porto has defiantly developed in many ways from the character she was during the research phrase. When my character arrived in Porto her character is lost and was looking back for that certain something or someone. During the research process I was quite strict with my self with the characteristics I wanted my character to have. As time has gone on through the research phrase I have felt my character needed more depth and background to her. My character to me is very hard to play, reasons being her personality being completely different to mine. I still feel that my character is still developing and has not yet been fully developed to its full potential . Every new session where I play my character, I am still finding new things out about her and she still surprises me. I feel my character is becoming stronger, this was not my intention but I like where my character is going through this journey. Characteristics such as being lost alone unapproachable and unsociable are elements still present in my character but new ones are now emerging in to her personality. Elements such as being nosey, wanting to reach out for people and wanting connections with different people but then still withdraws herself.
Bibliography
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.webs.uidaho.edu/info_literacy/modules/module2/2_1.htm (accessed April 1st 1pm )
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2)Porto is now in its stages of scoring the performance and is close to its finally performance. When creating Porto there has always oneelement that created the structure of the performance. Structure in Porto was created through the use of bags and based on the knowledge we have left everything behind and was in an unknown place . Without the use of the bags and its content throughout the performance I think there would be no purpose and meaning. Our bags in Porto makes us who we are and particular what it contains inside them, our one item that defines us. All material created throughout Porto in some way or another has related to our items and bags we carry.
Different sections throughout Porto have related to who we are and what our item represents to us. We interact with similar people with same physicality and emotional status within Porto. In the big ensembles, I feel these are structured and link the whole performance together and reminds us where we are and why we are stuck in Porto.
3)My character in Porto has defiantly developed in many ways from the character she was during the research phrase. When my character arrived in Porto her character is lost and was looking back for that certain something or someone. During the research process I was quite strict with my self with the characteristics I wanted my character to have. As time has gone on through the research phrase I have felt my character needed more depth and background to her. My character to me is very hard to play, reasons being her personality being completely different to mine. I still feel that my character is still developing and has not yet been fully developed to its full potential . Every new session where I play my character, I am still finding new things out about her and she still surprises me. I feel my character is becoming stronger, this was not my intention but I like where my character is going through this journey. Characteristics such as being lost alone unapproachable and unsociable are elements still present in my character but new ones are now emerging in to her personality. Elements such as being nosey, wanting to reach out for people and wanting connections with different people but then still withdraws herself.
Bibliography
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.webs.uidaho.edu/info_literacy/modules/module2/2_1.htm (accessed April 1st 1pm )
u
Task 3- Emilia Breadon
1) During the process of Porto we have been using the RSVP model as a structure of understanding to the piece, with the ‘R’ section this being our Research/Resource; our main task was to research our individual characters, trying to connect with the characters emotions as well as our physical movements to grasp the full understanding of how our characters personalities are, learning new things about our characters as the process continues.
‘List Pisk, in her very personal book, has said that ‘... the shape of your body is the outer boundary of inner contents.’ In order to achieve this, the actor’s character must be well defined both in thought and physicality. Otherwise he will rely on generalities and simply not be credible.’(Dennis 2004:24)
Since we moved onto the ‘S’ (score) section adding music to several pieces, I feel that it really enables you to connect with the ‘scene’ and develop an emotional attachment to the piece and it music as music can influence your feeling and emotions. However disconnecting your character from the music can be difficult and staying focused on your character and your characters feelings. When you can disconnect from the music and the influenced feelings it creates such an atmosphere, especially in the ensemble moments where we are all together but still keeping our own characters. So the music connects us however because we do movements to it in character it creates this ambience.
2) Now that we are at the score stage of Porto there is a narrative occurring not so much as a whole but more so in individual groups and with our individual characters. The journey that we have all been on so far with our characters is a story itself and could also be seen as a structure as we have all learnt the boundaries and difficulties some have with other interactions yet we always return to the liminality.
'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality]
Now that most of us have made a connection and are starting to play with these connections allowing them to develop we are creating small stories. As an ensemble we have created a beginning and this allows us to see how the narrative of Porto is going to emerge. Porto is still being developed and so I think there will not really be a proper narrative for Porto until we have finished the devising process and perform the piece in chronological order.
3)my characters development from the ‘R’ stage to ‘S’ has come a long way because my character at first was such a shy character that she felt she did not want to acknowledged by anyone and that she felt it was not right for her to move and express her feelings in a physical manner, as time has gone and we have developed more ‘scenes’ my character now can interact with others if she feels and does have the confidence to use physical movements, an example of this is the piece I do with Dan we developed this through ‘play’ and then keeping the parts we felt right for our characters, in one part my character is pushed away by Dan but because she wants the interaction and sense of security from him, I felt the urge to run and jump on him to see how his character would react, which at the beginning stages of devising Porto my character would never had the confidence. I would not say that my character has changed but simply developed because there are still times when she is very timid and does not want to be as big and open characters like some around her.
Bibliography:
Dennis A.(2004)The Articulate Body.Great Britain:Biddles Ltd
http://en.wikipedia.org/wiki/Liminality 01/04/09
‘List Pisk, in her very personal book, has said that ‘... the shape of your body is the outer boundary of inner contents.’ In order to achieve this, the actor’s character must be well defined both in thought and physicality. Otherwise he will rely on generalities and simply not be credible.’(Dennis 2004:24)
Since we moved onto the ‘S’ (score) section adding music to several pieces, I feel that it really enables you to connect with the ‘scene’ and develop an emotional attachment to the piece and it music as music can influence your feeling and emotions. However disconnecting your character from the music can be difficult and staying focused on your character and your characters feelings. When you can disconnect from the music and the influenced feelings it creates such an atmosphere, especially in the ensemble moments where we are all together but still keeping our own characters. So the music connects us however because we do movements to it in character it creates this ambience.
2) Now that we are at the score stage of Porto there is a narrative occurring not so much as a whole but more so in individual groups and with our individual characters. The journey that we have all been on so far with our characters is a story itself and could also be seen as a structure as we have all learnt the boundaries and difficulties some have with other interactions yet we always return to the liminality.
'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality]
Now that most of us have made a connection and are starting to play with these connections allowing them to develop we are creating small stories. As an ensemble we have created a beginning and this allows us to see how the narrative of Porto is going to emerge. Porto is still being developed and so I think there will not really be a proper narrative for Porto until we have finished the devising process and perform the piece in chronological order.
3)my characters development from the ‘R’ stage to ‘S’ has come a long way because my character at first was such a shy character that she felt she did not want to acknowledged by anyone and that she felt it was not right for her to move and express her feelings in a physical manner, as time has gone and we have developed more ‘scenes’ my character now can interact with others if she feels and does have the confidence to use physical movements, an example of this is the piece I do with Dan we developed this through ‘play’ and then keeping the parts we felt right for our characters, in one part my character is pushed away by Dan but because she wants the interaction and sense of security from him, I felt the urge to run and jump on him to see how his character would react, which at the beginning stages of devising Porto my character would never had the confidence. I would not say that my character has changed but simply developed because there are still times when she is very timid and does not want to be as big and open characters like some around her.
Bibliography:
Dennis A.(2004)The Articulate Body.Great Britain:Biddles Ltd
http://en.wikipedia.org/wiki/Liminality 01/04/09
Monday 30 March 2009
Blog Task 3 - Luke Manley 0705972
[1] In order to talk about the ‘R’ (research/resource) and the ‘S’ (score) when creating Porto, we must firstly identify the meaning of them, when relating them to devising.
“Research - Organized study: methodical investigation into a subject in order to discover facts, to establish or revise a theory, or to develop a plan of action based on the facts discovered.“
“Resource - 5. Talent drawn on when necessary: an inner ability or capacity that is drawn on in time of need, or such abilities considered collectively.”
Before undertaking a position in Porto I found in necessary to research the origins of physical theatre and elements of dance theatre, in order to broaden my knowledge and understanding of the subject, which helped me to take a serious role and undertake an emotional roll as I knew I would be giving 100% effort.
With resource I was able to undertake much more difficult physical movements then I had previously been thought I would be able to carry out, using elements of dance to help create certain movements, and finding myself creating a narrative for certain segments during the early creative stages of Porto.
“Source - 8. copy of choreographic notation: a written record of the choreography for a dance or ballet.”
Although actual written notes were not taken on my characters movements for Porto, I did however make mental physical notes on them, which allowed my body memory to repeated the movements I had previously done again and again, with some slight movements, due to my character being in a different frame of mind on that certain day.
[2] As Porto is progressing i personally cant see any narrative within the piece, as it’s all been developed through uses of play and instinct, each person has gone into Porto stripped of any knowledge of what is happening. I personally don’t think the performers have crated a narrative for Porto, but from the outside eye, Porto could be seen as having a narrative, but that is clearly up to an audience members perception of Porto and what they want to get out of it.
There can be some elements of narrative in Porto through the use of the performers interaction with one and another, which may or may not tell different audience members a different story. For example my relationship with someone else in Porto could be a very loving and caring relationship, but because of the way it may be presented another audience member may see this relationship as being detached and unwanted by the other.
As for structure within Porto, I do feel a sense of it here as we have a strong beginning, with a very powerful opening ensemble, which shows practices and structure to the piece. As for having structure in Porto I don’t think there is any evident evidence to the audience of structure as it seems to be natural and flowing, as if the characters are brining Porto to life as it progresses.
[3] Through out my personal process of Porto I feel that my character has developed emotionally ahead of physically. Although my character does have a physical presence in Porto, I feel that because I am too emotionally in touch with my character, I am finding it hard to explore and develop new physical skills and even go back to explore previous physical techniques learnt through out the process in Porto. Maybe if I was to become a little more emotionally detached from my character it would help to me progress physically?
“The inner necessity determines the quality of the energy …”
The above quote relates to my character immensely. As the character himself, is shy, timid, embarrassed, lost ECT. But it is me personally who wants him to be more physical, I would like him to break away from his natural side and use the skills I have learnt, but within doing his, I wouldn’t be staying true to the character, I would be doing movements for just wanting to do them.
So throughout the process of Porto so far my character has developed emotionally immensely, but has not developed as physically as I had previously hoped. But each show is going to be different, and depending on the atmosphere, circumstances may change for my character.
Bibliography
[1] Bausch, P - The grain of the voice
[2] Barba, P - Words of presence
[3] Sa’nchez-Colberg, A - Altered states and su’bliminal spaces
[4] Microsoft Word dictionary look up - 20/03/09
[5] www.dv8.co.uk
“Research - Organized study: methodical investigation into a subject in order to discover facts, to establish or revise a theory, or to develop a plan of action based on the facts discovered.“
“Resource - 5. Talent drawn on when necessary: an inner ability or capacity that is drawn on in time of need, or such abilities considered collectively.”
Before undertaking a position in Porto I found in necessary to research the origins of physical theatre and elements of dance theatre, in order to broaden my knowledge and understanding of the subject, which helped me to take a serious role and undertake an emotional roll as I knew I would be giving 100% effort.
With resource I was able to undertake much more difficult physical movements then I had previously been thought I would be able to carry out, using elements of dance to help create certain movements, and finding myself creating a narrative for certain segments during the early creative stages of Porto.
“Source - 8. copy of choreographic notation: a written record of the choreography for a dance or ballet.”
Although actual written notes were not taken on my characters movements for Porto, I did however make mental physical notes on them, which allowed my body memory to repeated the movements I had previously done again and again, with some slight movements, due to my character being in a different frame of mind on that certain day.
[2] As Porto is progressing i personally cant see any narrative within the piece, as it’s all been developed through uses of play and instinct, each person has gone into Porto stripped of any knowledge of what is happening. I personally don’t think the performers have crated a narrative for Porto, but from the outside eye, Porto could be seen as having a narrative, but that is clearly up to an audience members perception of Porto and what they want to get out of it.
There can be some elements of narrative in Porto through the use of the performers interaction with one and another, which may or may not tell different audience members a different story. For example my relationship with someone else in Porto could be a very loving and caring relationship, but because of the way it may be presented another audience member may see this relationship as being detached and unwanted by the other.
As for structure within Porto, I do feel a sense of it here as we have a strong beginning, with a very powerful opening ensemble, which shows practices and structure to the piece. As for having structure in Porto I don’t think there is any evident evidence to the audience of structure as it seems to be natural and flowing, as if the characters are brining Porto to life as it progresses.
[3] Through out my personal process of Porto I feel that my character has developed emotionally ahead of physically. Although my character does have a physical presence in Porto, I feel that because I am too emotionally in touch with my character, I am finding it hard to explore and develop new physical skills and even go back to explore previous physical techniques learnt through out the process in Porto. Maybe if I was to become a little more emotionally detached from my character it would help to me progress physically?
“The inner necessity determines the quality of the energy …”
The above quote relates to my character immensely. As the character himself, is shy, timid, embarrassed, lost ECT. But it is me personally who wants him to be more physical, I would like him to break away from his natural side and use the skills I have learnt, but within doing his, I wouldn’t be staying true to the character, I would be doing movements for just wanting to do them.
So throughout the process of Porto so far my character has developed emotionally immensely, but has not developed as physically as I had previously hoped. But each show is going to be different, and depending on the atmosphere, circumstances may change for my character.
Bibliography
[1] Bausch, P - The grain of the voice
[2] Barba, P - Words of presence
[3] Sa’nchez-Colberg, A - Altered states and su’bliminal spaces
[4] Microsoft Word dictionary look up - 20/03/09
[5] www.dv8.co.uk
Michaela Lloyd 0709448 Blog Post 3
1. In the creative journey of Porto we have been using Halprin’s RSVP model of devising- a four-stage cycle that aids the creation of performance. The initial ’R’ stage is the ‘Resource/Research’ phase by where both human physical and material resources and their potential motivations are called upon to create a base that will enrich the creative process. During this stage the ‘resource’ is explored to discover its potential performance possibilities before the ‘S’ stage of the model begins- ‘Scoring’. Bennet has employed the RSVP model with his own work and describes the Scoring stage as ‘ a theatrical development of image, characters, action [and] theme’ [www.puppetcentre.org.uk]. Essentially the Scoring stage refines the work developed during the Resource stage of Halprin’s model.
Initially we used the resources of our bodies and their relationship with other characters in the cast. This created our base for Porto that was refined with the help of Paul and Royona as our ‘outside eyes’, who could see the performance possibilities. They layered scenarios such as members on a train exploring the space restrictions that occur on top of our existing characters. This was the beginning of the Scoring of Porto. The piece is now beginning to take shape as our characters further develop through play sessions and exploration of this new theatrical development, the scenario that evolved through exploration of the initial resource- the body.
2.As Porto follows Halprin’s model a structure is beginning to emerge steadily. Porto itself has been described as paying ‘homage to the physical-theatre genre’ [http://www.arena.wlv.ac.uk]. As such, it is evident that the piece utilises the body as a signifier. According to Marshall, ‘The body is the direct point of connection between our inner self and the outer world’ (Marshall 2001 p xii) and that though our mind may be involved, it is our body that ‘lives our life’ and is the ‘sole mediator of human experience’ (Marshall 2001 p xii). With Porto now being scored, the bodies within the community have begun to take on much more than actions. They now have a connection with one another and have consequently begun to live a life within Porto. This has resulted in relationships emerging through the scoring phase and the creation of a narrative as these relationships develop and coincide with other characters. The complicite between the cast has concluded which characters want to socialise, want to fight or want to spend time together. The body continues to act as a mediator for human experience creating a stepping-stone for structure and narrative to be determined as the lives of each individual character strengthen in their own mission and their relationships with others in the on-stage world of Porto.
3.As Oddey explains, 'the research material formed the basis for an examination of the subject' (Oddey 1996 p xii). The Resource/Research phase of the process resulted in my character developing stock gestures and basic characterisation. She also had a core motivation within Porto: to find somebody or something that can settle her and keep her grounded. This was my basis for development and refinement of my character that is occurring within the Scoring phase of the process. Chekhov teaches that the more a gesture is repeated, the stronger the performers willpower grows and the greater depth a character is able to achieve. He also states that a performing space '...is an entire world permeated with an atmosphere so strong, so magnetic that [the performer] can hardly bear to part with it' (Chekhov 2007 p 41). As the process has developed the performance-space of Porto has evolved to evoke an atmosphere that immediately impacts every character that enters the space. As scenarios and situations have developed within the scoring phase my character has also developed.
When I enter Porto, the stock gestures I discovered within the Resource/Research phase of the model are no longer merely actions. They are carried out with motives and intent and I feel an emotional connection with every gesture I conduct. The space itself now impinges on my character as the intent and emotions of others within Porto exude adding to the atmosphere, as though each character is breathing life into this space that had previously been nothing more than a blank canvas. My character now acknowledges these other people and has begun to respond and react to their motivation and their purpose. She is more aware of those around her than her initial intent.
Bibliography:
Chekhov, M To The Actor On The Technique Of Acting London: Routledge 2007
Dundjerovic, A The Theatricality of Robert Lepage McGill-Queen's University Press 2007
Halprin, L The RSVP Cycles G. Braziller 1970
LeCoq, J Theatre Of Movement And Gesture London: Routledge 2006
Marshall, L The Body Speaks: Performance and Expression Methuen 2001
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
http://www.arena.wlv.ac.uk/Porto.htm (accessed 26th March 2009 13.00)
http://www.puppetcentre.org.uk/animationsonline/aonineteen/playprocessproduct.html (accessed 26th March 2009 13.40)
http://redseven.wordpress.com/rsvp-cycles-lawrence-halprin/ (accessed 26th March 2009 13.51)
Initially we used the resources of our bodies and their relationship with other characters in the cast. This created our base for Porto that was refined with the help of Paul and Royona as our ‘outside eyes’, who could see the performance possibilities. They layered scenarios such as members on a train exploring the space restrictions that occur on top of our existing characters. This was the beginning of the Scoring of Porto. The piece is now beginning to take shape as our characters further develop through play sessions and exploration of this new theatrical development, the scenario that evolved through exploration of the initial resource- the body.
2.As Porto follows Halprin’s model a structure is beginning to emerge steadily. Porto itself has been described as paying ‘homage to the physical-theatre genre’ [http://www.arena.wlv.ac.uk]. As such, it is evident that the piece utilises the body as a signifier. According to Marshall, ‘The body is the direct point of connection between our inner self and the outer world’ (Marshall 2001 p xii) and that though our mind may be involved, it is our body that ‘lives our life’ and is the ‘sole mediator of human experience’ (Marshall 2001 p xii). With Porto now being scored, the bodies within the community have begun to take on much more than actions. They now have a connection with one another and have consequently begun to live a life within Porto. This has resulted in relationships emerging through the scoring phase and the creation of a narrative as these relationships develop and coincide with other characters. The complicite between the cast has concluded which characters want to socialise, want to fight or want to spend time together. The body continues to act as a mediator for human experience creating a stepping-stone for structure and narrative to be determined as the lives of each individual character strengthen in their own mission and their relationships with others in the on-stage world of Porto.
3.As Oddey explains, 'the research material formed the basis for an examination of the subject' (Oddey 1996 p xii). The Resource/Research phase of the process resulted in my character developing stock gestures and basic characterisation. She also had a core motivation within Porto: to find somebody or something that can settle her and keep her grounded. This was my basis for development and refinement of my character that is occurring within the Scoring phase of the process. Chekhov teaches that the more a gesture is repeated, the stronger the performers willpower grows and the greater depth a character is able to achieve. He also states that a performing space '...is an entire world permeated with an atmosphere so strong, so magnetic that [the performer] can hardly bear to part with it' (Chekhov 2007 p 41). As the process has developed the performance-space of Porto has evolved to evoke an atmosphere that immediately impacts every character that enters the space. As scenarios and situations have developed within the scoring phase my character has also developed.
When I enter Porto, the stock gestures I discovered within the Resource/Research phase of the model are no longer merely actions. They are carried out with motives and intent and I feel an emotional connection with every gesture I conduct. The space itself now impinges on my character as the intent and emotions of others within Porto exude adding to the atmosphere, as though each character is breathing life into this space that had previously been nothing more than a blank canvas. My character now acknowledges these other people and has begun to respond and react to their motivation and their purpose. She is more aware of those around her than her initial intent.
Bibliography:
Chekhov, M To The Actor On The Technique Of Acting London: Routledge 2007
Dundjerovic, A The Theatricality of Robert Lepage McGill-Queen's University Press 2007
Halprin, L The RSVP Cycles G. Braziller 1970
LeCoq, J Theatre Of Movement And Gesture London: Routledge 2006
Marshall, L The Body Speaks: Performance and Expression Methuen 2001
Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996
http://www.arena.wlv.ac.uk/Porto.htm (accessed 26th March 2009 13.00)
http://www.puppetcentre.org.uk/animationsonline/aonineteen/playprocessproduct.html (accessed 26th March 2009 13.40)
http://redseven.wordpress.com/rsvp-cycles-lawrence-halprin/ (accessed 26th March 2009 13.51)
Hannah Page.
Task 3.
1.) When beginning the process of devising for Porto we were introduced to the RSVP model of working. Within this model the R stands for research/resource, the S for score, the V for validate and the P for performance.
During the devising process so far we have worked through the R and S phases of the model. The R phase being when the process starts off with an idea or a movement and the performers explore this notion, adapting it and experimenting with it. This is then moved onto the score where the material devised in the R phase is shaped and refined and put into context so it fits smoothly into the performance.
When moving into the score phase of the devising process the performers have refined their work by using play to find ways of connecting already refined pieces smoothly so it doesn’t look like they are moving onto another section of devised work with no motives.
In the score phase we have also started to add music to the pieces to add more depth to the movements on stage. This is done during the scoring so that the performers do not just move to the music instead of an impulse, like they do in the original devising process.
2.) As Porto is developing into the Score stage of the devising process it is apparent that narratives are forming in small sub-groups as well as in the main focus of a piece. These narratives may not always be clear to the ensemble because the pieces were created in a non linear manner and then connected together at a later date, but to an audience member watching the piece they will see a narrative because they “want to get to know your characters as well as they know their own friends, their own family.” (Scott Card, 1988,). a clear dialogue is apparent between characters and situations. For example, I am in the ‘photo section’ of the performance and our piece was created outside of the ensemble pieces and when we created it we had no sense of where to fit it in, but as we moved onto the score stage we decided to separate ourselves during one of the ensemble pieces to show that our group was somehow connected and we were all doing the same actions. This repetition slowly fades as we fit back into the ensemble but is brought back at a later stage to fit in with our ‘photo section’ these simple movements at two different stages produce an inner monologue of similarities between strangers.
3.) My character at the beginning of the devising process was a shy character who wanted to be left alone. I remember at the beginning of the process my character would stay away from every other character in the piece. Throughout the devising process however my character was met by many impulses to interact with other characters, and I went with these impulses despite my characters shy characteristics. This made me think that if my character can get swept along through impulses to interact then maybe it isn’t a shy character at all.
“If readers don’t care about (or at least feel interested in) a story’s character, they likely won’t care what happens to them.” (Valerie Bodden, 2008) This quote made me also think about the fact that if my character was a shy one that sticks to the sides then their would be no monologue because the audience wouldn’t care. Although this wasn’t the main reason for my character change it helped me to progress my character from the R stage to the S where she went from shy, to a character that wants to be liked by everyone. She is not as outgoing or as comfortable as the others but she wants to be. During the scoring phase of an ensemble piece a key moment for my character sticks out where she tries to befriend a mean character. The rejection strikes my character as strange, yet she doesn’t give up and starts to copy this character to get her acceptance.
Bibliography.
BODDEN, V. 2008. Creating a Character: Dialogue and Characterization. The Creative Company
Callery, D. (2001): Through the Body, London. Routledge
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
1.) When beginning the process of devising for Porto we were introduced to the RSVP model of working. Within this model the R stands for research/resource, the S for score, the V for validate and the P for performance.
During the devising process so far we have worked through the R and S phases of the model. The R phase being when the process starts off with an idea or a movement and the performers explore this notion, adapting it and experimenting with it. This is then moved onto the score where the material devised in the R phase is shaped and refined and put into context so it fits smoothly into the performance.
When moving into the score phase of the devising process the performers have refined their work by using play to find ways of connecting already refined pieces smoothly so it doesn’t look like they are moving onto another section of devised work with no motives.
In the score phase we have also started to add music to the pieces to add more depth to the movements on stage. This is done during the scoring so that the performers do not just move to the music instead of an impulse, like they do in the original devising process.
2.) As Porto is developing into the Score stage of the devising process it is apparent that narratives are forming in small sub-groups as well as in the main focus of a piece. These narratives may not always be clear to the ensemble because the pieces were created in a non linear manner and then connected together at a later date, but to an audience member watching the piece they will see a narrative because they “want to get to know your characters as well as they know their own friends, their own family.” (Scott Card, 1988,). a clear dialogue is apparent between characters and situations. For example, I am in the ‘photo section’ of the performance and our piece was created outside of the ensemble pieces and when we created it we had no sense of where to fit it in, but as we moved onto the score stage we decided to separate ourselves during one of the ensemble pieces to show that our group was somehow connected and we were all doing the same actions. This repetition slowly fades as we fit back into the ensemble but is brought back at a later stage to fit in with our ‘photo section’ these simple movements at two different stages produce an inner monologue of similarities between strangers.
3.) My character at the beginning of the devising process was a shy character who wanted to be left alone. I remember at the beginning of the process my character would stay away from every other character in the piece. Throughout the devising process however my character was met by many impulses to interact with other characters, and I went with these impulses despite my characters shy characteristics. This made me think that if my character can get swept along through impulses to interact then maybe it isn’t a shy character at all.
“If readers don’t care about (or at least feel interested in) a story’s character, they likely won’t care what happens to them.” (Valerie Bodden, 2008) This quote made me also think about the fact that if my character was a shy one that sticks to the sides then their would be no monologue because the audience wouldn’t care. Although this wasn’t the main reason for my character change it helped me to progress my character from the R stage to the S where she went from shy, to a character that wants to be liked by everyone. She is not as outgoing or as comfortable as the others but she wants to be. During the scoring phase of an ensemble piece a key moment for my character sticks out where she tries to befriend a mean character. The rejection strikes my character as strange, yet she doesn’t give up and starts to copy this character to get her acceptance.
Bibliography.
BODDEN, V. 2008. Creating a Character: Dialogue and Characterization. The Creative Company
Callery, D. (2001): Through the Body, London. Routledge
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
(1)
From the beginning of creating Porto we have been introduced to Halprin's devising technique of RSVP, meaning Research,Score,Validation and Performance. With this technique it felt appropriate to understand the meaning of each part, for example;
The Oxford English dictionary describes the word re-source as;
'An available supply that can be drawn on when needed. Often used in the plural.'
And the meaning of research is described as;
'Research is a systematic, formal rigorous and precise process employed to gain solutions to problems and/or to discover and interpret new facts and relationships. '
After finding the meaning we must then relate it to the piece. When describing research in Porto we refer to the creation of our body memory. Learning each technique adds to our 'research' which then becomes a 're-source' every time we want to come back to a movement for a particular emotion.
Now that we have done the 'research' for both our characters and physical awareness, we are now currently working in the 'score' part of the piece, this is where we can now develop relationships and emotions with each other, adapting what we have already created in the research part of the devising model. By adding such things as objects and music the devising stage becomes personal to each person. As a ensemble we can now work through the new adaptations creating an in-depth performance.
(2)
Now that we are firmly scoring Porto, you can see clear relationships that have developed within in the group, however apart from the actual starting point of Porto meaning 'journey' I do not feel that there is a clear narrative, there are too many bonds and individual journeys that i feel an audience would become distracted by to realise a particular story line or plot.When working outside of the ensemble you can see small narratives within each relationship, these narratives however are not always apparent to the large group because they have been created at different points.
My character is involved in the 'photo section' of the piece. In this, my character has been able to develop a strong relationship with another character, which is then picked up upon again later in the group ensemble, it's in these small sub-groups that characters develop personal structures and stories.
The piece itself began with a strong theme in the research stage, it was then after moving into 'score' we were able to create the powerful ensemble moments, however I do not feel that we would of been able to get to this position without separating into our smaller groups giving us the chance to focus on our characters journey.
(3)
At the start of creating Porto, I began by researching for my first character choice; the ditsy, forgetful, happy go lucky girl, her movements were sharp and bubbly, emotionally my character did not seem connected to any one, so most of the research made went into finding something to focus on, this was how I found my new character with Edward. This character has evolved in the last few weeks of devising Porto, everything about my first character and this one are completely different, physically she begins by moving slowly and at times menacingly, yet all her movements are still naturalistic. Emotionally the character changes within the performance, her opinions change towards her friend realising that she is being alienated by the Porto 'society' because of him. Gradually I see myself on the outside of interactions and it is here that i feel my emotions are at the highest most visible state.
I have always enjoyed the devising process, the idea of starting from something small which is then developed to become something with a story, is a fascinating way to get to a finishing point, and to me always seems to be the best way to involve a cast. In Porto I have discovered by letting myself go and letting the situation decide what emotion or physicality should happen i can create a more believable, deeper, more enjoyable character, for me to play and for the audience to watch.
From the beginning of creating Porto we have been introduced to Halprin's devising technique of RSVP, meaning Research,Score,Validation and Performance. With this technique it felt appropriate to understand the meaning of each part, for example;
The Oxford English dictionary describes the word re-source as;
'An available supply that can be drawn on when needed. Often used in the plural.'
And the meaning of research is described as;
'Research is a systematic, formal rigorous and precise process employed to gain solutions to problems and/or to discover and interpret new facts and relationships. '
After finding the meaning we must then relate it to the piece. When describing research in Porto we refer to the creation of our body memory. Learning each technique adds to our 'research' which then becomes a 're-source' every time we want to come back to a movement for a particular emotion.
Now that we have done the 'research' for both our characters and physical awareness, we are now currently working in the 'score' part of the piece, this is where we can now develop relationships and emotions with each other, adapting what we have already created in the research part of the devising model. By adding such things as objects and music the devising stage becomes personal to each person. As a ensemble we can now work through the new adaptations creating an in-depth performance.
(2)
Now that we are firmly scoring Porto, you can see clear relationships that have developed within in the group, however apart from the actual starting point of Porto meaning 'journey' I do not feel that there is a clear narrative, there are too many bonds and individual journeys that i feel an audience would become distracted by to realise a particular story line or plot.When working outside of the ensemble you can see small narratives within each relationship, these narratives however are not always apparent to the large group because they have been created at different points.
My character is involved in the 'photo section' of the piece. In this, my character has been able to develop a strong relationship with another character, which is then picked up upon again later in the group ensemble, it's in these small sub-groups that characters develop personal structures and stories.
The piece itself began with a strong theme in the research stage, it was then after moving into 'score' we were able to create the powerful ensemble moments, however I do not feel that we would of been able to get to this position without separating into our smaller groups giving us the chance to focus on our characters journey.
(3)
At the start of creating Porto, I began by researching for my first character choice; the ditsy, forgetful, happy go lucky girl, her movements were sharp and bubbly, emotionally my character did not seem connected to any one, so most of the research made went into finding something to focus on, this was how I found my new character with Edward. This character has evolved in the last few weeks of devising Porto, everything about my first character and this one are completely different, physically she begins by moving slowly and at times menacingly, yet all her movements are still naturalistic. Emotionally the character changes within the performance, her opinions change towards her friend realising that she is being alienated by the Porto 'society' because of him. Gradually I see myself on the outside of interactions and it is here that i feel my emotions are at the highest most visible state.
I have always enjoyed the devising process, the idea of starting from something small which is then developed to become something with a story, is a fascinating way to get to a finishing point, and to me always seems to be the best way to involve a cast. In Porto I have discovered by letting myself go and letting the situation decide what emotion or physicality should happen i can create a more believable, deeper, more enjoyable character, for me to play and for the audience to watch.
"Ideally preparatory training should be a process of self discovery as well as an opportunity to master skills for the individual"
(Dymphna Callery,pg1,2001)
Bibliography
D.Callery, pg 1,Through the body, published in 2001 by Nick Hern Books.
Oxford English Dictionary (www.wikipedia.com) 'resource' the meaning of.
oxford English dictionary (www.wikipedia.com) 'research' the meaning of.
we are currently working through the R and S stages of research and score.
At the begining of Porto i thought it would be beneficial to research other physical theatre companies to better prepare myself for the process, mainly focusing on the the work of DV8, purely because of their surreal way to show emontion through the body.
Monday 16 March 2009
Blog Post 3
Deadline: Wednesday, 1st April 2009, 5 pm
- There are 3 questions you need to answer as part of this task.
- The questions relate to the ‘R’ and ‘S’ phases of Porto’s development in the RSVP model of devising
- Conduct wider independent reading and use quotes and examples to support your views.
- Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.
Questions:
1. Critically reflect on how the ‘R’ (research/resource) phase of devising has moved onto the ‘S’ (score) phase of devising in the creative journey of Porto.
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)
2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)
3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words
Wednesday 11 March 2009
Voice over for start of Porto
Have you ever felt the urge to travel?
So strong an urge that it didn’t matter where you went as long as you kept going.
Have you ever felt like you don’t quite fit into your skin anymore?
Like you have outgrown its reach in search of things beyond.
Have you ever felt alone in a crowd?
Wondering what you have in common, if anything, with those around you?
Have you ever felt that the present is no longer where you belong?
That you need to make it your past in order to live the future you desire.
So strong an urge that it didn’t matter where you went as long as you kept going.
Have you ever felt like you don’t quite fit into your skin anymore?
Like you have outgrown its reach in search of things beyond.
Have you ever felt alone in a crowd?
Wondering what you have in common, if anything, with those around you?
Have you ever felt that the present is no longer where you belong?
That you need to make it your past in order to live the future you desire.
blog 2
1 When creating any devised piece of theatre, there are many strategies that could be put into place. In the fist weeks when starting the performance of Porto the tutors wanted to be quite strict with how material was created. This was put into place so that we wasn’t wasting time and used our time wisely creating new material.
The two devised strategies that were put in place was the clap method and the improvisation stage. this is what I refer to as "play". The play method I thought was the most hardest thing for me to over come, I was shy and nervous and didn’t know how to act around everybody. Improvising within the space around different people and not knowing how they will react is a risk you have to take. Using the use of play made me extend the characteristics of my character and understand her more. Using the Clap method for me I felt was not as effective as the play method, it may be effective because it is disciplined but I feel that my character was not explored more when using this technique.
2 When given the task of establishing a character there were many elements that I thought about. Elements such as should I include characteristics of my own personality or create a complete different person to who I am as a individual. My character is completely different to me and I think that's why it can be hard at times to perform and is a challenge. My basis for my character was that she was lost and I used this as my starting point. I started to perform as this character and I thought I need to add more detail to her as a character. I explored many ways of developing her as a character and thought a lot about the details that would make her as a character. If I was to describe my character I would say she was lost, alone, distant, drawn to things, shy, unapproachable, scared, always looking back. Picking up on always looking back she has a item in her bag , this a photograph. This photograph is made up of family, friends and a partner. In this present time where she is in Porto she is always looking back at this photo to remind her what she has left behind.
3 The physicality of my character can change depending how she is feeling and what situation she finds her self in. When establishing my character I came up with her characteristics and then decided how would she move bearing her quality’s in mind. My character as explained above was started with the word lost, with this I thought she should always seem enclosed and not let people in. My movements as a character are arm movements mainly and head movements. My arms movements of my character are always reaching out or blocking her face in some cases. My head movements are always turning of my neck or always looking back or her head is down and doesn’t want to interact with people.
When people approach my character depending how she feels, she will either look at them and go to interact or she will run away with fright. Her body posture is very simple she stays straight but sometimes she will lean to either side and slouch and look around her surroundings.
When using her bag she places it on her shoulder but she always messes with the straps and fidgets with it.
The two devised strategies that were put in place was the clap method and the improvisation stage. this is what I refer to as "play". The play method I thought was the most hardest thing for me to over come, I was shy and nervous and didn’t know how to act around everybody. Improvising within the space around different people and not knowing how they will react is a risk you have to take. Using the use of play made me extend the characteristics of my character and understand her more. Using the Clap method for me I felt was not as effective as the play method, it may be effective because it is disciplined but I feel that my character was not explored more when using this technique.
2 When given the task of establishing a character there were many elements that I thought about. Elements such as should I include characteristics of my own personality or create a complete different person to who I am as a individual. My character is completely different to me and I think that's why it can be hard at times to perform and is a challenge. My basis for my character was that she was lost and I used this as my starting point. I started to perform as this character and I thought I need to add more detail to her as a character. I explored many ways of developing her as a character and thought a lot about the details that would make her as a character. If I was to describe my character I would say she was lost, alone, distant, drawn to things, shy, unapproachable, scared, always looking back. Picking up on always looking back she has a item in her bag , this a photograph. This photograph is made up of family, friends and a partner. In this present time where she is in Porto she is always looking back at this photo to remind her what she has left behind.
3 The physicality of my character can change depending how she is feeling and what situation she finds her self in. When establishing my character I came up with her characteristics and then decided how would she move bearing her quality’s in mind. My character as explained above was started with the word lost, with this I thought she should always seem enclosed and not let people in. My movements as a character are arm movements mainly and head movements. My arms movements of my character are always reaching out or blocking her face in some cases. My head movements are always turning of my neck or always looking back or her head is down and doesn’t want to interact with people.
When people approach my character depending how she feels, she will either look at them and go to interact or she will run away with fright. Her body posture is very simple she stays straight but sometimes she will lean to either side and slouch and look around her surroundings.
When using her bag she places it on her shoulder but she always messes with the straps and fidgets with it.
Tuesday 10 March 2009
Hannah Page.
The second devising strategy is the ‘clap and move’ strategy, used when moving as one in the ensemble. This method gives people a chance to add their own input in a quick and efficient way. This method however is maybe the least effective in creating meaning for individual characters as a movement that one character suggests in the ensemble might have no meaning to another.
For me the first strategy has helped my character to grow and change more than the ensemble work strategy. This is because I am able to move as I want, as my character would and have no limitations in finding my character.
At the beginning of
This character had to change slightly when we started working as an ensemble. I found that my body wanted to move in ways that would not suit my character and found when working in our small groups that my character was not doing anything, just sitting on a chair, and for me this wasn’t the direction I wanted to go.
For a few weeks I was uncertain of my character, and went into the devising process as a blank character and seeing where the sessions led me. It wasn’t until recently that I found my character. We were doing a group play session and I had and impulse to go up to someone and shake their hand. I repeated this movement with other characters until I found a character much like myself. I was then able to move through their body impulses and define my character once again as someone who is looking for that one person, and along the way wants to be liked by everyone, yet has been hurt in the past so us very uneasy and uncertain of those around her.
My character uses the repetition of a hand shake to show how eager she is to make friends. She stays away from many of the other characters in the ensemble and is very wary of the audience. She won’t make eye contact with the audience or certain other members of the ensemble. And those characters who she does feel comfortable with she sticks herself too, feeling accepted. Although she feels acceptance with these characters though she is also still wary. For example, she makes friends with Dan, Rich and Lizzie, and they end up in a line all hugging each other. I end up at the front of the line, this is uncomfortable for my character and this is apparent by the fact that she is shifty on her chair and won’t touch Lizzie. She doesn’t move though because she wants to be accepted.
Throughout these past 5 weeks the most prominent and affective devising technique we have used, is the use of 'play', it was from here the group have been able to develop characters, relationships and their own personal journeys.
By starting each session by walking round the space and becoming our characters, the group have been able to find their personal boundaries which has then as a result started the creation of the group ensemble. Together, with this, and the introduction of objects, as a group we have created our world within a world.From using these strategies we have then been able to split off into smaller ,more personal groups, which have been created due to the similarities our personal object's have. It is in this space that we explore our characters to their full extent, as this object is to everyone the starting point of their character.
I feel it has become the most productive way to start a session as each person comes into the space as the person they have created, leaving behind the person they naturally are. Also you can see how each relationship develops and what emotions are attached to it, the longer this play continues.
'Training is a process of self-determination' (Eugenio Barba,1972,pg47)
I have found that in every 'play' session another part of my character develops, from the first, to where i am now, i can see an increasing shift from me naturally as Roxanne, to the horrible dark person that is now my focus, at first i was uncomfortable with this change, as it's far away from the original person i wanted to be, I soon realised that to become this character I did not have to change me, just my physicalisations, by using the simplist gesture i can show a dark side, and this evil personality, one which can make the entire group feel uncomfortable. By realising this i found my purpose or 'journey' in the piece, I would begin as being this nasty person who mocks everything she sees, to someone, who then craves the affection that so many share with each other.
This process however has been alot easier knowing that i have started it with someone else.By working with Edwards character I have been able to become this person who is so despised by their community, this is due to the fact that I know these sort of people often associate with others like themselves, by biggest worry was that i was not going to be able to put across this 'bitchy' person if at any point i was seperated from Edward, but I now feel that when the time comes for me to be seperated from him i would have enough strength as my character to break down my barriors and become more social, and perhaps at some point join in someone else's journey.
Physically, i do feel a change in my character, one that started slow at first, but is gradually becoming more apparent, at first I found that my physicality could at times be a bit manic, I always seemed to be rushing, and fighting for the attention of whoever i happened to be with, i often made sharp small movements when trying to involve myself in a situation, at times I felt quite clumsy in my appraoch to things. This in turn, I think, stoped me having full concentration at all times, because i did not feel that i had a purpose, i didnt have a bond with any one in paticular, so therfore could not see a path that i needed to follow.
Now i can see that my entire body languaged has hifted into becoming slower, less abrubt, more casual. Since my change in character, i have taken most of my influence from the mannerisms of a fox, an animal which is known to be sly and cautious, an animalk which at times can go un-detected, but when it leaves the damage is obvious. I now at first move around the group demanding my space alerting them in a very subtle way to move. My character begins with not wanting to know, or even care about what is going on, to being someone who's purpose is to a part of anything that might happen.
Barba,E (1972) The drama review, Words of presence.
By starting each session by walking round the space and becoming our characters, the group have been able to find their personal boundaries which has then as a result started the creation of the group ensemble. Together, with this, and the introduction of objects, as a group we have created our world within a world.From using these strategies we have then been able to split off into smaller ,more personal groups, which have been created due to the similarities our personal object's have. It is in this space that we explore our characters to their full extent, as this object is to everyone the starting point of their character.
I feel it has become the most productive way to start a session as each person comes into the space as the person they have created, leaving behind the person they naturally are. Also you can see how each relationship develops and what emotions are attached to it, the longer this play continues.
'Training is a process of self-determination' (Eugenio Barba,1972,pg47)
I have found that in every 'play' session another part of my character develops, from the first, to where i am now, i can see an increasing shift from me naturally as Roxanne, to the horrible dark person that is now my focus, at first i was uncomfortable with this change, as it's far away from the original person i wanted to be, I soon realised that to become this character I did not have to change me, just my physicalisations, by using the simplist gesture i can show a dark side, and this evil personality, one which can make the entire group feel uncomfortable. By realising this i found my purpose or 'journey' in the piece, I would begin as being this nasty person who mocks everything she sees, to someone, who then craves the affection that so many share with each other.
This process however has been alot easier knowing that i have started it with someone else.By working with Edwards character I have been able to become this person who is so despised by their community, this is due to the fact that I know these sort of people often associate with others like themselves, by biggest worry was that i was not going to be able to put across this 'bitchy' person if at any point i was seperated from Edward, but I now feel that when the time comes for me to be seperated from him i would have enough strength as my character to break down my barriors and become more social, and perhaps at some point join in someone else's journey.
Physically, i do feel a change in my character, one that started slow at first, but is gradually becoming more apparent, at first I found that my physicality could at times be a bit manic, I always seemed to be rushing, and fighting for the attention of whoever i happened to be with, i often made sharp small movements when trying to involve myself in a situation, at times I felt quite clumsy in my appraoch to things. This in turn, I think, stoped me having full concentration at all times, because i did not feel that i had a purpose, i didnt have a bond with any one in paticular, so therfore could not see a path that i needed to follow.
Now i can see that my entire body languaged has hifted into becoming slower, less abrubt, more casual. Since my change in character, i have taken most of my influence from the mannerisms of a fox, an animal which is known to be sly and cautious, an animalk which at times can go un-detected, but when it leaves the damage is obvious. I now at first move around the group demanding my space alerting them in a very subtle way to move. My character begins with not wanting to know, or even care about what is going on, to being someone who's purpose is to a part of anything that might happen.
Barba,E (1972) The drama review, Words of presence.
Blog Assessment 2
Blog Assessment 2
Emilia Breadon
1) The devising strategies that we have been using through the first 5 weeks of creating Porto has taught us that there are lots of ways to devise a piece and that it can be done without needing discussion and without depending on a script. An example of this is we created sections of the piece when working in ensemble with a clapping method where one person would clap show their physical movement (their own idea) and the rest of the class would copy, this allowed us to see other characters emotions and take them on board in our own way.
“For the individual, it is time dedicated to developing and exploring performance potential. For a company, training is time spent working to a common purpose.” (Callery, D. 2001 p. 17)
The growth and development of the piece has come on a long way from our very first class, the atmosphere when working in ensemble can be so intense that at the start of the piece when we are all just sitting on our seats in neutral you do feel as if we are all one big family, a community. When working individually, you can concentrate on yourself and develop your characters feelings further reflecting this through movement. It also allows you to take time and practise the techniques in your own character.
2) ‘Have you ever felt alone in a crowd?’ (Mitra, R, 2009)
Looking back to when we had our first lecture creating Porto, I struggled with my character as I did not really feel that my bag or item I choose was right to reflect how I wanted my character to be and so this held me back a little until I found the correct things to suit my character’s personality. To me the play sessions we did really allowed me to discover different things because at the start of the process I thought my character would be alone and like it that way keeping myself to myself and that if anyone were to try and interact with me I would simply react as if I saw nothing there. However after the play sessions I realised that even though I feel like I am alone there is something inside of me that wants to go and interact and perhaps end up making a friend but its the initial taking that step that I need develop. I feel now at this stage that I am happy with how my character is and that in future lectures when my item comes into the piece I will have the option to open my character up a lot more.
3) My character’s physicality in Porto is quite negative and hidden to reflect my emotions an example of this is when we do four repetitive movements on a chair, my four movements are very closed and reserved I move remaining on the chair scrunching my whole body into a ball as small as I can with my head down not being able to see as if I am trying to block out the world my whole centre of gravity is pushed down onto this chair so much so that if someone were to push me I would not move. When I do come off the chair I am either stood straight but with a physicality showing I want to be left alone for example I stretch my right arm out but with my palm facing out wards like this is a barrier I do not want people over stepping, my left leg is knelt on the chair with my weight relying on the chair to be there.
My body language has changed since the start of creating Porto, at first I would never look up always held my head down and clutching onto my bag like there was something in it no one could see, but after discovering my character more, I stand more up right I shift my weight onto my right hip and my left leg crosses the right, my arms are folded still holding onto my bag however I have my right arm up towards my face with a repetition of a gesture being my fingers taping my bottom lip.
Bibliography:
ARTAUD, A. (1993) Theatre and its double London: Caldar.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre: Routledge.
GROTOWSKI, J. (1975) Towards a poor theatre London : Methuen.
http://www.jasminvardimon.com/index.html
Porto (2009) [Home page] [online] [March 10, 2009.]
(http://processandperformance200809.blogspot.com/ )
Emilia Breadon
1) The devising strategies that we have been using through the first 5 weeks of creating Porto has taught us that there are lots of ways to devise a piece and that it can be done without needing discussion and without depending on a script. An example of this is we created sections of the piece when working in ensemble with a clapping method where one person would clap show their physical movement (their own idea) and the rest of the class would copy, this allowed us to see other characters emotions and take them on board in our own way.
“For the individual, it is time dedicated to developing and exploring performance potential. For a company, training is time spent working to a common purpose.” (Callery, D. 2001 p. 17)
The growth and development of the piece has come on a long way from our very first class, the atmosphere when working in ensemble can be so intense that at the start of the piece when we are all just sitting on our seats in neutral you do feel as if we are all one big family, a community. When working individually, you can concentrate on yourself and develop your characters feelings further reflecting this through movement. It also allows you to take time and practise the techniques in your own character.
2) ‘Have you ever felt alone in a crowd?’ (Mitra, R, 2009)
Looking back to when we had our first lecture creating Porto, I struggled with my character as I did not really feel that my bag or item I choose was right to reflect how I wanted my character to be and so this held me back a little until I found the correct things to suit my character’s personality. To me the play sessions we did really allowed me to discover different things because at the start of the process I thought my character would be alone and like it that way keeping myself to myself and that if anyone were to try and interact with me I would simply react as if I saw nothing there. However after the play sessions I realised that even though I feel like I am alone there is something inside of me that wants to go and interact and perhaps end up making a friend but its the initial taking that step that I need develop. I feel now at this stage that I am happy with how my character is and that in future lectures when my item comes into the piece I will have the option to open my character up a lot more.
3) My character’s physicality in Porto is quite negative and hidden to reflect my emotions an example of this is when we do four repetitive movements on a chair, my four movements are very closed and reserved I move remaining on the chair scrunching my whole body into a ball as small as I can with my head down not being able to see as if I am trying to block out the world my whole centre of gravity is pushed down onto this chair so much so that if someone were to push me I would not move. When I do come off the chair I am either stood straight but with a physicality showing I want to be left alone for example I stretch my right arm out but with my palm facing out wards like this is a barrier I do not want people over stepping, my left leg is knelt on the chair with my weight relying on the chair to be there.
My body language has changed since the start of creating Porto, at first I would never look up always held my head down and clutching onto my bag like there was something in it no one could see, but after discovering my character more, I stand more up right I shift my weight onto my right hip and my left leg crosses the right, my arms are folded still holding onto my bag however I have my right arm up towards my face with a repetition of a gesture being my fingers taping my bottom lip.
Bibliography:
ARTAUD, A. (1993) Theatre and its double London: Caldar.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre: Routledge.
GROTOWSKI, J. (1975) Towards a poor theatre London : Methuen.
http://www.jasminvardimon.com/index.html
Porto (2009) [Home page] [online] [March 10, 2009.]
(http://processandperformance200809.blogspot.com/ )
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